history Archives - Page 6 of 7

The Work of Le Corbusier

Posted on March 9, 2020May 20, 2024 by Nancy

Modernism is an approach that has roots going all the way back to the 1920s. Modernist architecture was pioneered by the inventive and contentious Le Corbusier, a Swiss-French architect, urban planner, painter and furniture designer. To better understand Modernism, we’re diving deep into his life, and highly controversial work.

A Controversial Figure

Born Charles-Eduoard Jeanneret-Gris, architect Le Corbusier built chiefly with steel and reinforced concrete, paring design down to its simplest, elemental geometry and form. He developed his famous theory of modern form and minimalist materials when envisioning affordable, prefabricated housing to help rebuild communities after World War I. His vision for prefabrication was only the tip of a strong, nearly utopian, approach to urban planning and architecture.

Villa Savoye Exterior — Villa Savoye in Poissy, Le Corbusier. Photo Timothy Brown, Flickr Creative Commons

His architectural philosophy was groundbreaking and completely contrary to the dominant narrative of the 1920s. Once he established his ideas, he shared them by publishing the seminal L’Espirit Nouveau (1920), where he revealed his famous “five points of architecture.” Three years later, he published Vers une architecture (Towards a New Architecture) (1923), in which he espoused a new, modern architecture informed by applying principles of cars, planes and ships to buildings. Le Corbusier embraced the conflict that arose to his ideas head-on, making bold declarations such as “a house is a machine for living in” and “a curved street is a donkey track; a straight street, a road for men.”

Chair designed by Le Corbusier at Optima Camelview Village

Form, Function, Furniture

Le Corbusier also designed furniture, his approach following suit to his approach to architecture. His furniture, co-designed with Pierre Jeanneret and Charlotte Perriand, utilized tubular steel that projected a new rationalist aesthetic. Le Corbusier broke down furniture into three types: type-needs, type-furniture and human-limb objects. His rational approach was not without romanticism, as he said, “Certainly, works of art are tools, beautiful tools. And long live the good taste manifested by choice, subtlety, proportion and harmony.”

At Optima, we employ Le Corbusier furniture in our communities, like those in each of the three building lobbies at Optima Old Orchard Woods in Skokie. The furniture functions just as the artist would’ve wanted — as bold, artistic statement pieces, and as functional, rational furniture.

A Brief History of Steel

Posted on January 27, 2020May 20, 2024 by Nancy

One of the most utilized structural materials in the world, you’d be hard pressed to find a construction site not making use of steel. Yet what’s now a ubiquitous material was once so hard to come by that it was regarded as heaven-sent—literally. In paying our respects to steel, we’re diving deep into its rich and storied history.

Iron, The Metal From Heaven

Before we learned to smelt iron into steel, iron itself was an alloy hard to come by. Ancient Egyptians called iron biz-n-pt, translating to “metal from heaven.” In their time, iron did come from space, crashing onto earth embedded in meteorites. This metal from heaven had a higher nickel content than the iron dug up from the ground, making it supple, malleable and resilient—and more valuable than gems or gold. It wasn’t until 2,500 BC that miners began the arduous task of removing iron from the earth, and even then, it took hundreds more years to discover how to properly separate the precious ore and manipulate it.

From wrought iron made in primitive smelters, to cast iron made in ancient Chinese furnaces, to iron smelted in blast furnaces, the material remained challenging to produce in mass quantities and to use for a variety of purposes. Certain crafts, such as the delicate process of clock-making, called for a material that was even more malleable, even more resilient than iron. That material was steel, an alloy made by mixing iron and carbon.

One of three Bessemer Converters left in the world, at the Kelham Island Museum. Credit: David Dixon on Geograph, licensed under CC BY-SA 2.0 Deed

The Dawn of Steel

The modern steel industry was officially born in 1856 when Henry Bessemer developed a more effective and inexpensive method of producing the precious alloy. Known now as the Bessemer Process, Bessemer designed a pear-shaped receptacle in which iron could be heated while oxygen was blown through the molten metal, reacting with carbon, releasing carbon dioxide and producing a more pure iron.

Bessemer’s process revolutionized the industry, allowing for the efficient transformation of iron into high-quality steel in mass quantities. In fact, once the steel industry in America adapted the Bessemer process too, they were able to catch up with Britain’s production, sparking an industry that generated more wealth than the 1849 California Gold Rush.

Steelmaking in America continued to boom as technology improved, allowing for higher efficiency, safety and yield. At the end of World War I, the improved production of steel is what allowed for the invention of skyscrapers. The skyline shot upward in cities like New York and Chicago, a testament to the true strength and power of the material. Steel became a staple in the Modernist structures of masters such as Ludwig Mies van der Rohe, as a material that not only allowed for a fierce, durable structure, but for a simple, bold aesthetic.

As the steel industry continues to propel forward, metallurgists seek to create more sustainable production methods, exploring electricity-based smelting and utilizing recycled steel for new projects.

Steel and Optima

Throughout our projects at Optima, steel functions as both a structural component and a Modernist aesthetic choice. In projects such as Relic Rock and Arizona Courtyard House, we utilized Corten steel, which is a 99% recycled material. David Hovey Sr. also utilizes steel in his sculpture work, moulding the material into abstract creative expressions. From humble beginnings to its inventive usage today, steel’s versatility still inspires us to venture into new endeavors.

A Tour of the Mies-designed IIT Campus

Posted on January 15, 2020May 20, 2024 by Nancy

The Illinois Institute of Technology (IIT) is the place for Modernist architecture enthusiasts — and more specifically, Ludwig Mies van der Rohe enthusiasts — to be. Not to mention that the school is where Optima’s own David Hovey Sr. and David Hovey Jr. further honed their architectural education.

The campus, a place with a special place in our own heart and history, is home to the largest group of buildings designed by renowned architect Mies van der Rohe, arguably the most influential figure in American Modernism. As such, there is no better way to get an understanding of where our work began and where Modernism expanded, and to experience Mies’ philosophy than to explore the very campus that he designed and led.

Perlstein Hall designed by Ludwig Mies van der Rohe. Credit: Joe Ravi on Wikimedia Commons under the license CC-BY-SA 3.0

An Overview of the Campus

Ludwig Mies van der Rohe chaired the IIT School of Architecture from 1938 to 1958. During this time, he created a new master plan for the campus, the most ambitious he ever came up with, including twenty of his own works. This collection is the greatest concentration of Mies buildings in the world. Among the twenty are famous structures such as Wishnick Hall, Perlstein Hall, Carr Memorial Chapel and S.R. Crown Hall. Perhaps Mies’ most iconic piece of work, S.R. Crown Hall is the campus gem, a modern icon and National Historic Landmark, and even heralded by Time magazine as “one of the world’s most influential, inspiring and astonishing structures.”

Overall, the campus is a bold expression of the Modernist discipline, utilizing steel, concrete and glass minimalist frames as a radical departure from traditional college quadrangles and limestone buildings.

An Official Architectural Tour

A tour of the campus, offered by the Chicago Architecture Center, places special emphasis on Mies’ time as head of the IIT School of Architecture. The tour covers iconic Mies structures alongside newer additions such as State Street Village, designed by Helmut Jahn.

During the warmer season, tickets for the tour are available for purchase here. Though not required, advance reservations are recommended, and private bookings are available. Truly enhancing the reach of the experience, the ticket price also gives entrance to the Chicago Architecture Center within seven days of your tour.

As a piece of our own history at Optima, and as a grander piece of Modernist architecture’s history in America, the IIT campus is something that must be seen to be truly understood. Whether it’s on your own or with a tour, witnessing this iconic collection of designs is a necessity.

The Work of Jules Olitski

Posted on December 30, 2019May 25, 2024 by Nancy

Jules Olitski was an American painter, printmaker and sculptor whose work explored color as a subject. Olitski’s innovative experimentation in paint and its properties yielded results that were at once atmospheric and beautiful. In many of our properties, displaying the work of Jules Olitski plays complement to our own exploration of color, form and function.

The Life of Jules Olitski

Jules Olitski was born Jevel Demokovsky in 1922 in Snovsk, Russia (now Ukraine). His birth came just a few months after his father, a commissar, was executed by the Soviet government. At only a year old, along with his mother and grandmother, Olitski emigrated to the United States, where the family resided in Brooklyn. Even at a young age, Olitski demonstrated an aptitude for art. In high school, he won a juried prize that allowed him the opportunity to attend art classes in Manhattan.

In 1939, at 17, Olitski attended an exhibit at the New York World’s Fair, and it was there that he first saw work by Rembrandt. Olitski described the experience as “transformative.” The budding artist delved into the academic art world to study portraiture, but his schooling was interrupted when Olitski was drafted into the army during World War II.

Luckily, the G.I. Bill allowed Olitski to spend time studying in Paris following the war. The Paris schools were Olitski’s first introduction to the European modern masters. Their modernist approach led Olitski to engage in a deep process of self-analysis and reinvention — a process which involved painting while blindfolded, enabling the artist to unlearn his academic training as a portrait painter and freeing his inhibitions.

The Art of Jules Olitski

After school, his originally classical work became more abstract and focused on the surface, color and physical properties of paint and painting. This process-oriented approach led him to express a desire to create “color that would hang in the air.” To do so, he rented an industrial spray gun that allowed him to experiment and discover a radical new technique of layering atmospheric blankets of thick color onto canvas.

Olitski’s unique approach to the canvas helped establish the movement of Color Field painting in the mid-1960s. It also led him to represent the U.S. in the 33rd Venice Biennale in 1966, and to become the first living American artist to showcase a one-person exhibition at the Metropolitan Museum of Art in 1969. His work has been described as “visual drama” and “visual muzak” by international art critics.

Olitski was able to learn a classical approach to art, and then subvert that through his own unique innovation. Having his works on the walls of our own properties reminds us to always challenge the status quo, and to never stop inventing.

A Brief History of the Terrace

Posted on December 11, 2019May 25, 2024 by Nancy

A hallmark of Optima properties is our integration of the built environment with the natural. Oftentimes, we employ terraces—level platforms incorporated into buildings that allow for plantlife to thrive—that allow our buildings, and their residents, to live in harmony with the surrounding landscape. The usage of terraces is one that dates back for over 12,000 years, evolving over the millennium to be the sophisticated components of urban architecture that they are today.

Terraces of Ancient Times

The word terrace is derived from terra, the Latin word for earth. The technique has been in use for over 12,000 years, first utilized as an ancient farming method in hilly regions. Agricultural terracing involved cutting the land into a series of successively receding flat platforms, much like steps, to allow for more effective farming, by decreasing erosion and surface runoff and increasing the effectiveness of irrigation.

An illustration of the Hanging Gardens of Babylon.

In 9800 BC, ancient civilizations realized that they could adapt this technique to buildings, and they began to add terraces to their homes and other domestic structures. This first usage was seen across the globe, from the Middle East to the Pacific Islands. The most famous interpretation is undeniably King Nebuchadnezzar’s Hanging Gardens of Babylon, one of the Seven Wonders of the Ancient World. Although no actual proof of its existence has been found, depictions show an ascending series of tiered gardens abundant with plantlife, complete even with a waterfall.

Thousands of years later, from 3000 BC – 600 BC, Mesopotamians grew gardens atop ziggurats, terraced religious temples that allowed for religious spaces to become placed ever higher. The structures were placed upon many layered platforms, and it’s believed that ziggurats were what inspired the Biblical parable The Tower of Babel.

Terraces continued to be integrated into homes. Around 1500 AD, Venice adopted terrace design to the tops of their homes, called altanas. Altanas were private, slat-floored roofs. They started out as a place to hang laundry out to dry, but continue to be used today as social spaces.

The terraced design of Optima Camelview Village.

Terraces in the Modern Age

Following the progression of altanas as a place to socialize, people began more and more to use the terrace as a location to congregate in privacy. Private rooftop and per-unit terraces became luxury amenities in the 1920s, when building height began to increase due to the adoption of the elevator. At that time, terraces become a status of wealth, allowing for privacy, fresh air and separation from the increasing bustle of life on city-level.

Today, the use of terraces continues to flourish, finding increased purpose and urgency in response to population growth and a changing environmental climate. They provide private places to reconvene with nature, away from the bustle of the city. Terraces also create sustainable and contributive space, by providing thermal insulation, solar shading to mitigate air pollution, increased biodiversity and enhanced quality of life.

At Optima, we incorporate terraces to create private social space, to integrate nature into our communities through our signature hanging gardens, and to contribute to our sustainability practices at many of our properties, including Optima Camelview Village, Optima Sonoran Village and Optima Kierland. Terraces at Optima serve as outdoor living space, connecting the outdoor and indoor for a seamless living experience. From agricultural beginnings, the terrace stays true to its roots, allowing us to find harmony with nature.

The Inception of IIT

Posted on November 20, 2019May 20, 2024 by Nancy

Where we come from is a large part of who we are today, and Optima founder David Hovey Sr., FAIA is no exception. His long career as an architect is grounded in the education and mentorship that he found during his time at the Illinois Institute of Technology (IIT). Optima’s ties to the school run deep; David Hovey Jr. followed his father’s footsteps in passion and education, also attending IIT. To better understand our founder and our own story, we’re diving deep into the history and inception of the school that helped shape him.

Frank Wakeley Gunsaulus, the minister that gave the Million Dollar Sermon. Photo in the Public Domain.

A Million Dollar Sermon

In 1890, Chicago minister Frank Wakeley Gunsaulus delivered the “Million Dollar Sermon.” In a church on the South Side, near the current site of IIT, Gunsaulus declared that with a million dollars, he could build a school where students from all backgrounds could prepare for meaningful roles in a changing industrial society. He believed that the students could learn in practice, not in theory — taught at a school to “learn by doing.”

In response to his vision, Philip Danforth Armour Sr. gave that million dollars. Armour’s money founded the Armour Institute, opened in 1893, a school that offered engineering, chemistry, architecture and library science courses. Two years after that in 1895, another school on Chicago’s south side opened; Lewis Institute offered liberal arts, science and engineering courses for co-ed classes.

47 years later, the Illinois Institute of Technology was created when Armour Institute and Lewis Institute agreed to merge together to form a stronger, singular school.

Mies and IIT

Two years before the merger and the inception of IIT, German architect Ludwig Mies van der Rohe joined the Armour Institute of Technology to head their architecture program and bring a new, rationalized curriculum. Once the new school was created by the two colleges joining, Mies was tasked with designing an entirely new campus for IIT, set apart by his distinct Modernist style in the surrounding urban environs.

Coming from the Bauhaus, Mies brought with him a new way of thinking about architecture, design, form and function. Because his arrival came at a time of transition, he was able to share his belief system and help shape the curriculum that now makes IIT markedly unique.

It is this distinctive series of events that led to the creation of this program, passed down from the Bauhaus, to Mies, to IIT, to David Hovey Sr. and David Hovey Jr., eventually shaping the way we think at Optima today.

100 Years of Bauhaus

Posted on October 7, 2019May 25, 2024 by Nancy

This fall, we honor the historical significance of 2019, which marks 100 years since the Bauhaus movement was founded. 100 Years of Bauhaus, a centenary exhibition, gives us the opportunity to look back on a school of thought that has not only influenced our own design, but the design and thinking of the world for over a century.

The Bauhaus School of Design was borne out of necessity 100 years ago during the harsh political climate of post-World War I Germany. Founded by architect Walter Gropius, the school sought to combat the rise of industrialist manufacturing that was swiftly outpacing human craft and comfort. The ease and speed at which product was created at that time had greatly diminished aesthetic value and the way that design affect those that interacted with it. Things were, quite literally, looking bleak.

The Bauhaus solution was to bring back craftsmanship, combined with fine arts to make it stronger. The school aimed to combine all art forms in order to create one unified piece of art that could bring a sense of beauty and wonder back to the viewer. The Bauhaus did this through a sharp focus on form, function and aesthetic, ultimately creating art products that were abstractly beautiful and evocative.

Stacking Tables designed by Josef Albers. Credit: Florent Darrault on Flickr Creative Commons, CC BY-SA 2.0 Deed.

Most notable products of the Bauhaus school were furniture and wallpaper — including Marcel Breuer’s tubular steel “Wassily Chair,” inspired by his bicycle, and Josef Albers’ stacking tables.

In 1933, the school was closed due to the increasing pressues of Nazi Germany, causing its students and members to disperse across the world. As the disciples of Bauhaus spread, so too did its unique theory and ways of thinking and creating. The last director of the Bauhaus before its closing, Ludwig Mies van der Rohe, came to Chicago, where he rethought and revitalized the architecture program and campus at Illinois Institute of Technology (IIT). Mies’ vision for IIT earned the school the title of “the second school of design,” with the Bauhaus being the first. His involvement at the Bauhaus heavily influenced the new architecture program at IIT, and therefore influenced David Hovey Sr., co-founder of Optima, as he studied there years later.

One can see the influence of the Bauhaus, Mies and the Modernist masters that came before us in the designs of Optima. Like the Bauhaus, we place a heavy emphasis on form and function in all that we design; and like Mies, our work places emphasis on open space and revealing materials. When Gropius first decided that the Bauhaus School of Design must involve all processes into the creation of one, higher art form, it set in motion the ideologies and design principles that have shaped who we are today.

Today, Bauhaus thoughts and designs continue to influence all fields of design — and if something isn’t made in the Bauhaus school of thought, it was probably made in counter-response to it. At Optima, we continue to be influenced by, and inspired by, the fascinating, careful and unique emphasis that the Bauhaus has brought to the way we create.

Vertical Integration: The Optima Business Model

Posted on September 18, 2019September 1, 2020 by Nancy

Reflecting back to 1978, one of the first pillars of the Optima promise was a dedication to a multidisciplinary approach. David Hovey Sr, then new to the architecture world, wanted to escape from the corporate red tape that surrounded a traditional architect-developer relationship. Oftentimes, he observed that bankers and corporations were given more power over specific projects and the integrity of the building was overlooked. His vision was that architecture would lead the process, and the first iteration of the Optima Business Model was born.

Our process is a vertical one; we oversee architecture, development, general contracting, sales brokerage, property management and support. Because we’ve built an integrated process and are involved with every step, we welcome potential challenges and take pride in seeing our projects through from start to finish. Our model gives us a distinct advantage over others in the industry, and allows us to have a flexible and fluid project timeline.

From project inception to construction, we’re constantly working on ways to improve and adapt. During the construction of Optima Signature, our architectural team implemented strategies to improve efficiency, including condensing the coordination of mechanical, electrical, plumbing and fire protection systems, and producing documents on-site, reducing the process from days to hours. Originally scheduled for completion in February 2018, our vertical integration methods allowed the building to be completed in June 2017.

Even once a building is finished, we continue to be involved with and invested in our projects. We manage most of our multi-family properties, ensuring everything from amenities to retail spaces enrich the lives of their respective communities. Our intention is always to create a positive, lasting impact on our tenants, communities and environments, and our vertical integration model allows us to pursue that desire more fully.

The Legacy of Ludwig Mies van der Rohe

Posted on September 16, 2019May 25, 2024 by Nancy

Our story is influenced and molded by those that came before us. The vision for Optima was seeded during David Hovey Sr.’s time at the Illinois Institute of Technology (IIT), where he studied under the program built by modern architectural legend, Ludwig Mies van der Rohe. To understand where modern design is today, it’s insightful to look back on the legacy of Mies van der Rohe.

Mies van der Rohe

Mies was a German-born architect and educator, born in 1886 in Aachen, Germany, with Chicago becoming his adoptive hometown later in life. One of the 20th century’s greatest architects, he designed with an emphasis on open space and revealing materials. His steel-and-glass aesthetic defined modern architecture; he himself referred to it as “skin-and-bones architecture.” Mies didn’t design with style in mind, but rather, considered the philosophy of design within the frame of functionalist and industrial concerns at the time. “Less is more,” the legendary aphorism, was first said by Mies in reference to his architectural work.

Early Years in Europe

Destined for greatness, Mies’ first commissioned project (Riehl House) came to him at the age of 21 while he was working for Bruno Paul. What really set his design aesthetic apart, however, was the Barcelona Pavilion. Designed for the 1929 International Exposition in Barcelona, Spain, the temporary structure was the most powerfully pared-down building imaginable. Consisting of horizontal and vertical slab elements, it fulfilled the minimum requirements to define space — nothing has ever personified “less is more” in quite the same way. As Mies garnered attention, he became the director of the Bauhaus school of design in Germany in 1930. He remained there until the school closed in 1933 under the mounting pressure of the Nazi regime, and it was at this point in time that Mies took his leave from Europe.

An Educator and Architect in America

Mies arrived in the US in 1938, heralding in a new era for his life and the life of architecture in Chicago. He was head of the architecture department of IIT from 1938-1958, and when Mies’ position was announced, he was introduced by the one and only Frank Lloyd Wright himself. It was virtually unheard of for Wright to admire the work of another architect — and vocalize his admiration no less — but in his introductory speech, Wright said of Mies: “I admire him as an architect, respect and love him as a man. Armour Institute, I give you my Mies van der Rohe. You treat him well and love him as I do. He will reward you.”

Wright knew what an influence Mies would have on IIT and on architecture. The period of transition allowed Mies to entirely redesign the school’s program and campus both — he “rationalized” the curriculum by returning to the basics. At IIT, students focused first on learning to envision and draw their creations, then master the features, functions and materials involved in building, in order to finally evolve as architects whose discipline was enmeshed with the fundamental principles of design and construction.

A Lasting Legacy

Mies has left his mark in many places — along the Chicago skyline, across the IIT campus and on our work here at Optima.The fundamental principles behind Modernist design influence how we create and think here, and the innovative and groundbreaking thinking of Mies is something that we seek to embody in our everyday operations. To this legend, we say thank you for paving the way and inspiring us all.

A Brief History of The Courtyard

Posted on September 4, 2019September 1, 2020 by Nancy

An iconic architectural design feature of many Optima projects, the courtyard is a long-beloved piece of home and history. A space designed for peace, socializing and beauty, the courtyard has a rich history that has led to its modern interpretations.

It’s estimated that the first courtyard houses made an appearance around 6000BC in the Jordan Valley, used for purposes ranging from cooking, sleeping, working, gardening or even housing animals. Before courtyards, open fires were used within a central place in a home, with a small hole in the ceiling for the smoke to escape. Gradually, the holes became larger and evolved into open courtyards more similar to what exists today.

Courtyards are an iconic staple in many cultures throughout the world, though they vary in style and function. The central uncovered area in Roman architecture was referred to as an atrium, and would often contain a central pool used to collect rainwater and a garden. In China, the courtyard was a central space for multiple homes and families, and used as a place for privacy and tranquility. The medieval European courtyard was used for working, gathering and protection. With such a rich and diverse history, it’s no surprise that the courtyard continues to withstand the test of time.

Traditionally, courtyard homes are prevalent in temperate climates, since the open space helps maintain a cool temperature. To take advantage of the functional and aesthetic benefits of the courtyard, many of our Arizona projects feature courtyard greenspaces. Our Arizona Courtyard House is even named after the feature that makes it unique; outside and inside flow together to create a seamless layout and beautiful views of the landscape. The home is arranged with the main house to the south and east, and a fitness center and lap pool to the north creating a private courtyard in the center.

The essence of a courtyard is the physical expression of the concept of connection, and ours are built with the hope that they will provide a peaceful oasis in which residents can reconnect to their friends, family and the surrounding environment.

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Tag: history