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John Lautner’s Journey Through Space and Form

At Optima®, we are always delighted to showcase the works of Modernist architects who have made waves in the field. One such architect, whose innovative designs and extraordinary imagination have left a lasting impression, is John Lautner. Today, we’ll explore the unique characteristics of Lautner’s architectural style, highlighting his inspirations and the significance of his contributions to the field.

John Lautner (1911-1994), born in Marquette, MI, had a distinctive style that was shaped by his early apprenticeship under the legendary Frank Lloyd Wright, as well as by his own profound interest in engineering, organic architecture, and the natural world. Lautner’s designs are characterized by their seamless integration with the environment, imaginative use of materials, and bold, sculptural forms.

One of the fundamental aspects of Lautner’s architectural style was his ability to harmoniously blend his structures with their surrounding landscape. Drawing inspiration from Wright’s organic architecture principles, Lautner believed that buildings should not only respect their natural environment but also enhance it. His designs often feature extensive use of glass, allowing for unobstructed views and creating a synchronicity between the interior and exterior spaces.

His fascination with engineering and materiality allowed him to push the boundaries of conventional architectural design. He frequently employed innovative construction techniques, such as the use of cantilevers, to create seemingly gravity-defying spaces. Additionally, Lautner’s designs often incorporated a diverse range of materials, including concrete, steel, and timber, as well as experimental materials like sprayed-on concrete (gunite).

Chemosphere, John Lautner. Photo: Julius Schulman © J. Paul Getty Trust. Getty Research Institute

One of Lautner’s most notable projects showcasing his innovative use of materials is the Chemosphere (1960), a futuristic octagonal house perched atop a single concrete column in the Hollywood Hills. The house appears to float above the landscape, demonstrating Lautner’s ability to create a sense of weightlessness and otherworldly charm.

Lautner’s architectural style is characterized by a sense of spatial fluidity, as he sought to create open, flowing interiors that defied conventional notions of rooms and boundaries. His designs often feature sweeping curves and dramatic angles, resulting in dynamic, visually captivating spaces.

The Elrod House (1968) in Palm Springs, for example, demonstrates Lautner’s mastery of spatial fluidity. With its iconic conical roof and open-plan living spaces, the house appears to grow organically from the rocky landscape. This seamless connection between interior and exterior spaces is further emphasized by the use of retractable glass walls, which allow the residents to fully experience the surrounding desert environment. Also, did we mention that the Elrod House was featured in the 1971 James Bond film, Diamonds Are Forever?

Elrod House, John Lautner. Photo : Nelson-Moe Group

While Lautner’s architectural style was undoubtedly influenced by his time spent working under Wright, his experiences working with other luminary architects like Richard Neutra and Rudolph Schindler helped him shape a unique vision and dedication to experimentation.

We take immense pleasure in celebrating the contributions of Modernist architects like John Lautner, whose groundbreaking designs continue to inspire and captivate. His iconic structures stand as testaments to the power of imagination and the importance of embracing the ever-evolving landscape of design.

Women in Architecture: Violeta Autumn

As part of our ongoing “Women in Architecture” series, we’re sharing the story of Violeta Autumn, whose distinguished career was committed to environmental protectionism and inclusion in the industry. Autumn’s designs earned her numerous accolades and recognition, and her work serves as an inspiration for architects today. Learn more about her life and career below.

The Life of Violeta Autumn
Violeta Autumn was born in 1930 Chiclayo, Peru to Russian Jewish immigrants and lived there until her family relocated to Oklahoma when she was 14. After graduating high school, Autumn attended the University of Oklahoma, where she studied under the legendary architect Bruce Goff and became the third woman to graduate from the school with a Bachelor of Architecture in 1953. In her future work, Autumn took inspiration from Goff’s use of organic design.

After completing her education, Autumn traveled across Europe during the summer, where she met her husband, Sanford Autumn, a psychologist. Autumn and her husband relocated to the San Francisco area after returning from Europe, and she obtained her California architect’s license soon after, in 1957.

Notable Works and Achievements
Autumn’s architectural experience began with preparing construction drawings for Harold Dow, a Palo Alto-based architect. For several years, she illustrated renderings and designed murals for other architects and authors, but in 1959 she ventured out on her own, designing and building her own home and architectural studio in Sausalito, California as a first project. As her design vocabulary evolved, she continued to draw from other architects she worked with and admired, including Frank Lloyd Wright (with whom she apprenticed) and John Lautner, who went on to have a stellar career as a modernist architect in South California.

Autumn worked with engineer Haluk Akol to translate organic architecture philosophies into the home’s vertical cliff site. The building featured exposed concrete buttresses to stabilize the unique structural system, a two-story copper hood for its fireplace and unstained redwood. After its completion in the early 1960s, the home was widely celebrated, including features in Progressive Architecture and Look magazines.

Souverain Winery, Healdsburg, California, 1974

Autumn received her U.S. citizenship in 1963 and quickly became involved in aspects of local government, from joining her local Community Appearances Advisory Board to being named commissioner of the Planning Commission and to becoming a Sausalito City Councilwoman. Much of her work in public office mirrored her philosophies in architecture. She became largely known for her strong environmental protectionism along with the redevelopment of a host of important waterfront projects in the San Francisco Bay area.

Following her career in local government, Autumn partnered with fellow University of Oklahoma architectural graduate John Marsh Davis to create Davis-Autumn & Associates. Together, the two completed a host of projects, many of which are wineries still in existence in Sonoma and Napa Valley today, including Joseph Phelps Vineyards, Rutherford Hill Winery, Sullivan Vineyards and their most acclaimed, Souverain Winery. Designed and opened in 1974, the Souverain Winery won the American Institute of Architects Bay Area Honor Award for Design Excellence.

Violeta Autumn’s contributions to the field of architecture have left an indelible mark. Her work helped pave the way for future generations of practitioners who strive to create innovative, environmentally-friendly designs that prioritize community and inclusivity.

George Frederick Keck: How A Modernist Master Shaped the Chicago Skyline

Chicago has long been a hotbed for Modernist architecture, with the likes of Ludwig Mies van der Rohe, Frank Lloyd Wright, and Walter Gropius all calling the city home at various points in their careers. At Optima®, we are always delighted to showcase the groundbreaking work of Modernist architects who have left an indelible mark on our urban landscape. Today, we are opening the aperture to focus on George Fred Keck, an architect whose innovative designs and pioneering spirit greatly influenced the development of modern architecture in Chicago and beyond.

Born in 1895 in Watertown, Wisconsin, George Fred Keck was destined to become a trailblazer in the world of Modernist architecture. After studying at the University of Illinois at Urbana-Champaign, Keck established his own firm with his brother William in 1926 — Keck & Keck. The siblings’ shared passion for Modernism and sustainability led them to create designs that were both environmentally-conscious and ahead of their time.

Keck-Gottschalk-Keck Apartments. Photo: Ryerson & Burnham Archives Archival Image Collection

Keck’s most famous work is undoubtedly the House of Tomorrow, a groundbreaking design he created for the 1933 Chicago World’s Fair, also known as the Century of Progress Exposition. The house showcased innovative ideas such as floor-to-ceiling glass walls, central air conditioning, and even an attached garage with an electric door opener. These cutting-edge features not only made the House of Tomorrow a sensation at the fair, but also laid the groundwork for the modern home as we know it today. 

With Keck’s commitment to sustainable design came a fascination with solar energy. In the early 1940s, he and his brother William designed the first solar-powered house in the United States. Known as the Keck-Gottschalk-Keck Apartments and located at 5551 South University Avenue in Hyde Park, this remarkable dwelling relied on south-facing windows and a solar heating system to maximize the capture and use of solar energy. This early foray into sustainable design would pave the way for future architects to embrace environmentally conscious practices.

House of Tomorrow. Photo: Chicago History Museum, Hedrich Blessing Collection

As we celebrate the life and work of George Fred Keck, we at Optima® are once again reminded of the transformative power of Modernist architecture. Keck’s innovative designs, environmental consciousness, and commitment to pushing the boundaries of architectural form have left an unforgettable mark on the city of Chicago and on the world of architecture.

Ralph Haver: The Unsung Brilliance of A Mid-Century Arizona Architect

Ralph Haver’s work may not have gained the same international recognition as his contemporaries Frank Lloyd Wright, Richard Neutra, or Eero Saarinen, but there’s no mistaking his defining influence on Arizona Mid-Century Architecture.

Haver was born in Pasadena in 1915. He attended Pasadena Junior College and later studied architecture at the University of Southern California (USC) before the United States entered World War II. After a stint in the military with the U.S. Army Corp of Engineers, he moved to Phoenix, and started his own architectural practice. In 1945, he founded Haver, Nunn & Associates, partnering with fellow architect, Jimmie Nunn. The duo focused on designing affordable tract homes that were stylish, functional, and suited to the desert climate.

Northwood Haver Home in Phoenix. Photo: ©2016 Modern Phoenix LLC

His passion for simple, affordable, and elegant design made him an instant hit among Arizonans who were seeking a fresh architectural perspective.

While Wright’s organic architecture and luxurious designs were the talk of the town, Haver was working diligently behind the scenes. He envisioned a world where every family could live in a well-designed, modern home without breaking the bank. And thus, the “Haver Home” was born.

Haver Homes For All

Haver’s homes were designed for the average family. Their clean aesthetic and open floor plans allowed homeowners to bask in the natural beauty of Arizona while having a comfortable, stylish abode.

Marlen Grove Haver Home. Photo: ©2020 Modern Phoenix LLC

With the thousands of Haver Home designed and built, their iconic design elements included low-sloping roofs, expansive windows, and a post-and-beam construction, similar to that of another Arizona contemporary we wrote about recently, Al Beadle. These elements allowed for a seamless integration of indoor and outdoor spaces, maximizing both beauty and functionality.

Ralph Haver and his firm didn’t limit themselves to residential projects. They also designed schools, churches, and commercial buildings, leaving their mark on many aspects of Arizona’s mid-century architectural landscape. Many of their projects were concentrated in neighborhoods like Marlen Grove, Town and Country, and Windemere.

Windermere Haver Home. Photo: ©Modern Phoenix LLC

Although Ralph Haver passed away in 1997, his work continues to influence architects and homeowners, and his designs have become highly sought-after by those looking to own a piece of Arizona’s unique modernist architectural heritage. In fact, many neighborhoods throughout Phoenix and Scottsdale still boast a high concentration of Haver Homes, lovingly maintained and restored by their proud owners. These communities serve as a testament to Haver’s enduring vision of affordable, stylish living for all. At Optima®, we’re inspired by the innovative spirit of Ralph Haver and his dedication to creating beautiful, functional living spaces.

Local Wilmette Landmarks: Frank J. Baker House

Have you ever stumbled upon a remarkable architectural gem that leaves you captivated by its design and history? The Frank J. Baker House, located at 711 Lake Avenue in Wilmette, is one such marvel that deserves a spotlight for its unique charm and intriguing background, along with its significance as a National Registered Landmark. It’s such a pleasure to be able to showcase this modernist architectural wonder that’s just a stone’s throw from Optima Verdana®.

Historical Background

Constructed in 1909, the Frank J. Baker House is a prime example of the Prairie School architectural style, which flourished between the late 19th and early 20th centuries. This style was characterized by horizontal lines, overhanging eaves, and an emphasis on integrating the building with its natural surroundings. 

The house was designed by architect Frank Lloyd Wright, and commissioned by Frank J. Baker, a successful businessman with a passion for art and architecture. Throughout its history, the Baker House has undergone several renovations and restorations, all aimed at preserving its architectural integrity and adapting it to the needs of modern living. Today, the house remains a private residence, treasured by its owners, Amy and Eric Bauer. 

Connection to Wilmette Landmarks

The Frank J. Baker House is also an integral part of the rich architectural tapestry of Wilmette’s collection of landmark structures, including the Robert and Suzanne Drucker House, and Oak Circle Historic District. Together they exemplify timeless modernist architecture at its best and offer an engaging and educational experience for all design enthusiasts.

Interior of Frank J. Baker House. Photo: @Properties

Architectural Features

One of the most striking features of the Baker House is its harmonious integration with the landscape. The house boasts a low-pitched roof, wide eaves, and extensive use of natural materials, allowing it to blend seamlessly with its surroundings. This unity of architecture and nature is a cornerstone of the Prairie School design philosophy.

Inside the Baker House, you’ll find a spacious, open floor plan that allows for an easy flow between rooms. The generous use of windows and natural light creates an airy, inviting atmosphere, while the built-in furniture and custom woodwork showcase the craftsmanship and attention to detail that went into designing and constructing the home.

Impact on Modern Architecture

It’s a rare pleasure to see such a pristine example of Wright’s genius and the influence of the Prairie School on modern architecture — with its clean lines, simplicity, and connection to nature — up close. At Optima®, as we continue to design living spaces that blend form and function, we draw inspiration from architectural masterpieces like this every day.

Wilmette Landmarks: Robert and Suzanne Drucker House

As part of our Wilmette Landmark series, today we’ll cover a home steeped in an architect’s very own familial bonds. A home that has been on the National Register of Historic Places since 2013 — The Robert and Suzanne Drucker House. Designed by one of Chicago’s iconic Modernist architects, Harry Weese.

An Overlooked Modernist

His practice was inexhaustibly creative. Rooted in the Modernist and Brutalist architectural styles which laid the groundwork for efficient and functional living spaces. His most famous work, the Washington Metro system, not only showcases Weese’s unique design approach but also illustrates how he prioritized the user experience with his coffered concrete vaults and meticulous attention to detail. Weese never shied away from innovation, all the while quietly detaching himself from the architectural dominance of Mies van der Rohe and Frank Lloyd Wright.

The Drucker House

Quietly closed off from view, the front of the Drucker home is a wonderful expression of Weese’s personal brand of Modernism — a synthesis of International Style, Scandinavian, and Midwestern influences. The home’s geometry is obscured by slatted screens and maturing cedar trees. The house is L-shaped. Consisting of two wings running parallel to the street and the other angled in a way that allows for sunlight. This L-shaped arrangement also allows for an expansive view of the front yard.

The back of the home, on the other hand, embraces its deep rectangular lot and thoughtfully placed windows. Along with a screened porch resembling film reel that takes advantage of natural light to cast the home’s image. The indoor and outdoor living space almost seem to be brought together through this effect, all while maintaining complete privacy.

Side view of Robert and Suzanne Drucker House
Side view of Robert and Suzanne Drucker House. Photo: Susan Benjamin

Weese built the Drucker house for his sister Suzanne and her family. It largely reflects Weese’s experimental approach to Modern design, and is informed by geometry rather than ornamentation. Furthermore, the house exhibits a remarkable focus on flexibility instead of adhering to a traditional layout that — when combined with how the Drucker family lived — created a universally functional residence that could accommodate the family’s lifestyle.

In its interior, the home is compartmentalized into zones delineated by screens and bookspaces. Each room flows effortlessly from one to another, the kitchen in particular being planned with convenience and ample storage in mind. In 1963, as the Drucker family began to grow, a second floor was added to provide more space.

As Optima® continues to embrace all that Wilmette has to offer, taking the time to highlight unconventional pioneers who blurred the boundaries of style and functionality is always a pleasure. We encourage you to take a slow drive to see this magnificent home and all that it has to offer on 2801 Iroquois Rd in Wilmette, IL.

 

 

A Look at Frank Lloyd Wright’s Unsold Designs

On December 9, 2022, Christie’s auction house held a special auction to release a collection of rare drawings, glasswork and furniture produced by legendary architect Frank Lloyd Wright. The collection was put up for sale by Grand Rapids-based Steelcase Corporation, the iconic American furniture manufacturer that enjoyed a unique relationship with the famed architect. Today, we’re taking a look at the treasured work:

In the mid-1930s, Wright was working on his seminal corporate design for the Johnson Wax Headquarters, commissioned by S.C. Johnson & Son in Racine, Wisconsin. He approached Steelcase with the hopes of working with them to manufacture furniture for the building. Decades later, in 1985, Steelcase bought the Meyer House — a home designed by Wright in 1909 in Grand Rapids, Michigan — to celebrate the spirit of innovation and collaboration between Wright and Steelcase that began during the Johnson Wax Headquarters project. Steelcase set out to uncover the original designs of the home, and after several years of extensive research, they accumulated a number of Wright’s original drawings that documented the architect’s vision. After a two-year restoration that included demolition of a 1922 addition to the home and fanatical attention to hundreds of interior and exterior details, the Meyer House stands as the most complete and authentic restorations of all of Wright’s designs.

An executive desk and armchair designed by Wright for SC Johnson’s headquarters

Taken together, the projects represent unique and different moments in Wright’s career. The Meyer House is a prime example of his Prairie School era, a period of roughly 15 years in the early 1900s when commissions most often came from affluent families before he shifted focus to more. These designs typically feature hip roofs with long eaves, art glass ribbon windows and strong horizontal lines. 

Wright designed multiple residential structures in this style for about 15 years in the early 1900s before shifting focus to more democratic architecture. The S.C. Johnson building, on the other hand, is considered Wright’s corporate masterpiece; today it remains one of the most important examples of the American corporate office building. 

The unique glasswork designed by Wright for the Meyer House

The pieces included in Christie’s auction come from these two projects and include the executive desk master and executive arm chair master from the S.C. Johnson project and windows from the Meyer house. Wright’s original drawings for the furniture he designed for both the Johnson Wax Headquarters and the Meyer House were also sold, including schematics for an officer’s chair from the S.C. Johnson building and the sofa and living room table from the Meyer House. 

It’s not often that fans of Frank Lloyd Wright fans have the opportunity to acquire processual works — in this case, drawings, windows and furniture that reveal the process that Wright and his clients used to produce masterpieces.

Women in Architecture: Isabel Roberts

As part of our ongoing “Women in Architecture” series, we’re spotlighting one of America’s most overlooked architects. As one of only two women in the original Prairie School, Isabel Roberts immediately became an inspiration for women architects in the early 20th century. Learn more about her riveting life and career below: 

The Life of Isabel Roberts

Isabel Roberts was born on March 7, 1871, in Mexico, Missouri. Her parents were natives of the eastern coast; her father was a mechanic from Utica, New York, and her mother was from Prince Edward Island, Canada. Growing up, Roberts and her family moved often; traveling from Missouri to Providence, Rhode Island, to South Bend, Indiana. 

The Isabel Roberts House, by Frank Lloyd Wright Studio, 1908

At 18 years old, Roberts moved to New York City, where she studied architecture at the Atelier Masqueray-Chambers from 1899-1901. The atelier was the first in the nation to teach architecture with the principles used by École des Beaux-Arts in Paris. Architects Emmanuel Louis Masqueray and Walter B. Chambers founded the school to forge more rewarding educational and professional opportunities for women in architecture at the time. 

Notable Works and Achievements  

In 1901 after completing school at the Atelier Masqueray-Chambers, Roberts moved to Illinois to take a position under Frank Lloyd Wright in his Oak Park office. She worked with Wright alongside a team of six others, which included Marion Mahony Griffin, the only other woman in the group that would become known as the Prairie School. 

Eola Park Bandshell, Ryan and Roberts, 1924

Roberts’ impact while working for Wright is commonly underestimated as she contributed her design expertise to various projects, primarily after he left Oak Park for Europe in 1909. Some of her most notable projects include K.C. DeRhodes House in South Bend, Indiana – a commission for a friend of the Roberts family – the Laura Gale House in Oak Park and the Stohr Arcade Building in Chicago. 

St. Cloud Veterans Memorial Library, Ryan and Roberts, 1923

Commissioned by Isabel’s mother, Mary, the Isabel Roberts House in River Forest, Illinois, was another of Roberts’ illustrious designs with Wright. Completed in 1908, the home’s intricate arrangement contained a warm brick hearth at its core and utilized a mixture of half-story levels to connect living areas. The Prairie School design featured other innovative additions for the time, including a vaulted ceiling, diamond-paned windows and a grand octagonal balcony.

A Brief History of the Attached Garage

For those tireless fans of Frank Lloyd Wright — unarguably one of the greatest architects of the 20th century — we are delighted to shine a light on one of his innovations that rarely attracts attention. It’s the attached garage.

In a brilliant process of cultural sleuthing, conceptual artist Olivia Erlanger and architect Luis Ortega Govela embarked on a project that culminated in the 2018 publication of Garage by MIT Press. With elegance, wit and panache, the authors tell this tale of Robie House, completed in 1910:

“In the quiet darkness of South Woodlawn Avenue, Frank Lloyd Wright molded and adapted the American home for the automobile. The small rectangular windows of Wright’s Robie House cast rectilinear shadows across the sidewalk. In the moonlight, the red hydrangeas lining the second-floor balcony appeared black, to be identified only by their smell. With no “front” or “back,” the building looms, imperious and totemic. To the pedestrian it looks like a Japanese woodblock puzzle: the riddle of how to enter, or exit, persists until one encounters an oversized gate leading to a three-car garage. The Robie House is known by many as the cornerstone of modernism, but its status as the first home with an attached garage seems to have been forgotten. The garage struck architectural academics as so banal that it became nothing more than a footnote in Wright’s illustrious history.

The garage was invented to domesticate the car. At the end of the nineteenth century, the car made its entrance into the stage of history to replace the horse. Initially it was a temperamental machine, and people were reluctant to incorporate it into their daily lives. The machine had yet to develop the technology necessary to be used regularly, so it was mostly kept in the stable, next to the other animals. Yet at the same time the car needed so much upkeep that mostly they were stored in communal parking lots where the first auto mechanics would constantly be preparing cars for the type of local roads that existed at the time.

Following the completion of Robie House, Wright was commissioned by Emma Martin to design an attached garage for her Oak Park home in his characteristic Prairie style

If the human entrance to the house was secretive, the one designed for the machine was not. Inside the yard, the garage doors dominate the space. It is here that the garage claims its rightful position on the front of the plot with a direct and easy connection to the street. If we go by Wright’s poetic hand, in 1910 the garage was symbolically integrated into the familial structure. This relationship between home and garage, family and car, would not reappear in architecture until the early 1920s, making the Robie House a premonition of the future.”

For a deeper dive into the history of the garage as a space of creativity (think tech start-ups and musicians), grab a copy of Garage and make time to visit Robie House. Enjoy!

The Ennis House: Frank Lloyd Wright’s Most Documented Work

From Taliesin and Taliesin West to his home and studio in Chicago, Frank Lloyd Wright’s iconic architectural contributions continue to remain beloved treasures of modernism. And while many of the buildings attract tourists from across the world, one home, in particular, separates itself as his most documented property, and whether you know it or not, you’ve probably seen it yourself. 

Built in 1924, the Ennis House was only the second home Wright built in California. Situated in the Los Feliz neighborhood, Wright embraced the Mayan Revival style of the time and area, utilizing 27,000 concrete molds in a block construction to create the famous house. Along with the custom textile block design, Ennis House features a tall loggia spine and grand pool on its northern terrace, one of the house’s most glamorous features. 

The Ennis House pool and loggia

Although the house was built as a residence for Charles and Mabel Ennis, its exotic design immediately attracted the eyes of Hollywood filmmakers. In 1933 it was used as a shooting location for the first time, but it wasn’t until 1959 that it acquired unnatural recognition for the time as the exterior facade for the B movie House on Haunted Hill. The home remained a popular destination for films for decades, showcasing its impressive interior for the 1975 film, The Day of the Locust

Ennis House’s custom designed textile blocks used in Blade Runner (1982)

However, in 1982 the home reached new levels of fame after appearing in Blade Runner. While it was only actually filmed for one exterior scene, the director was so entranced by the textile blocks that casts of them were created for sets elsewhere in the movie. The tall ceilings from the cathedral-like dining room and fireplaces were also popularly used in films thanks to their haunting nature. 

The modernist interior of Ennis House filmed for The Day of The Locust, 1975

Since 1933, features from the iconic house have made appearances in more than 80 films, alongside various commercials, magazine covers and music videos. The Ennis House is designated a city, state and national landmark and added to the U.S. National Register of Historic Places in 1976. It remains privately owned today, but thanks to its inspiring and timeless architectural design, it remains a desired location for anyone looking to capture the perfect shot.

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