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Then and Now: The Sahara Motor Inn

At Optima®, we deeply appreciate the storied structures that enrich our understanding of local culture. In our “Then and Now” series, we’ve explored the fascinating evolution of significant buildings in Arizona. With our latest post, we delve into the rich tapestry of Phoenix’s past, with a spotlight on the Sahara Motor Inn, a former city icon that once personified the vibrant spirit of the Southwest.

The Sahara Motor Inn opened its doors in 1955, built by an investment consortium led by notable figures, Marion Isbell and Del Webb. This mid-century marvel was much more than a hotel. It was a symbol of a thriving, evolving Phoenix, a testament to the rise of automobile culture, and an emblem of the burgeoning region.

Sahara Motor Inn Illustration
Sahara Motor Inn Illustration. Credit: Brian, Flickr Creative Commons

Designed by Matthew E. Trudell, the Sahara Motor Inn sprawled across a city block, boasting 175 guest rooms, two penthouse apartments, and a host of modern amenities. It wasn’t just the size or facilities that made the hotel stand out. The architecture, a harmonious blend of mid-century styles, utilized popular materials such as red brick, colored art glass, and cast-in-place concrete.

Renowned in its heyday, the hotel attracted a celebrity clientele including Marilyn Monroe, who resided there while filming Bus Stop in 1956. As time went on, the Sahara Motor Inn partnered with the Ramada Inn motel chain, becoming the “Sahara Ramada Inn” in the 1960s. The desert gem gradually faded, overshadowed by the expansion of large hotel chains that promised a consistent guest experience nationwide.

Bus Stop, starring Marilyn Monroe

By 2000, the Sahara Ramada Inn was no longer the crown jewel of downtown Phoenix. The forces of redevelopment were sweeping through Phoenix, with civic leaders and universities envisioning a new era of urban transformation. The hotel was sold to Arizona State University (ASU) in 2010 and was later razed to make way for the university’s Sandra Day O’Connor College of Law.

The story behind Motor Inn is a classic narrative of transformation, encapsulating the spirit of change so familiar in Phoenix. From its birth as a luxury hotel in the heart of the American Southwest to its rebirth as an educational institution, its journey mirrors that of the city itself.

Sandra Day O’Connor College of Law. Photo: Wiki Commons

The story of the Sahara Motor Inn still stands, even as the building itself is no longer a part of the city’s architectural landscape. It remains a tale of a bygone era, a time of profound change and growth, underlining the relentless momentum of progress.

Alexander Girard: A Vibrant Symphony of Modern Design

In the grand scheme of modern architecture and design, each virtuoso brings their unique understanding, forever shaping the field. Today, we celebrate one such figure, Alexander Girard, whose contributions have resonated through time, echoing his innovative spirit, unparalleled creativity, and ceaseless passion for design.

Born in 1907 in New York City and raised in Florence, Italy, Girard was an architect, interior designer, furniture designer, textile artist, and much more. His work was a vibrant fusion of colors, patterns, and cultures, weaving together aesthetics from around the world to create a visual language that was uniquely his own.

An integral part of the American mid-century modernist movement, Girard worked alongside luminaries such as Charles and Ray Eames and George Nelson at Herman Miller. His work, however, extended beyond the confines of a singular style or discipline. From his iconic textile designs to his whimsical braniff airlines makeover, Girard was a master of imbuing spaces and objects with a sense of joy and vibrancy. His designs always held a humanistic approach, seeing each project as an opportunity to enhance the daily lives of people.

His interior design for the Miller House in Columbus, Indiana, stands as a testament to his extraordinary talent. This residence, considered a landmark of modernist architecture, perfectly illustrates how Girard’s playful approach to design transformed the idea of what a domestic interior could be.

Miller House Interior, regarded as the world’s first conversation pit. Photo: Newfields, Miller House and Garden Collection

Beyond his professional work, Girard was an ardent collector of folk art, believing in its ability to inspire and influence contemporary design. His vast collection found a home in the Museum of International Folk Art in Santa Fe, a testament to his global perspective and appreciation for diverse cultures.

His bold use of color, his human-centric approach to design, and his innovative interpretations continue to inspire architects and designers worldwide. As we appreciate the rich tapestry of modern design, the work of Alexander Girard stands as a timeless composition of innovation, creativity, and humanism — a celebration of life, color, cultural diversity, and a reminder of how design can bring joy and meaning into our everyday lives.

Edward Dart’s St. Augustine Episcopal Church

At Optima®, we are continually fascinated by the architectural masterpieces that exemplify the harmony between design and the narratives they hold. Today, we cast the spotlight on an architectural gem from the Mid-century Modern era, St. Augustine’s Episcopal Church in Gary, Indiana, designed by Edward Dart.

In the steel town of Gary, just across the Illinois border from Chicago, 30 African-Americans chartered a new Episcopal mission in 1927. The congregation weathered its early years to grow strong and financially stable by the mid-1950s, leading to the decision to commission their own place of worship. The conception of this project was nurtured by the Great Migration, which saw many African-Americans migrating from the South to Gary, drawn by job opportunities in the thriving steel industry.

By 1955, St. Augustine’s (fondly referred to as ‘St. Aug’s’) embarked on the purchase of a pipe organ. When discussions veered towards the building of their own church, the organ sales representative suggested Edward Dart, an architect whose style would come to define the church’s distinctive look. 

The collaboration between Edward Dart, a white architect from New Orleans, and St. Aug’s, a Black Episcopal mission, was unusual for the mid-1950s. Yet, over the course of four years, their shared vision resulted in an architectural design that incorporated local materials like Indiana limestone, honoring both the community’s roots and Dart’s signature style. Completed in 1959 at a cost of $120,000, St. Augustine’s Episcopal Church received the AIA Citation of Merit and the Church Architectural Guild’s Honor Award almost immediately. 

St. Augustine’s Episcopal Church in Gary, IN. Photo: National Register of Historic Places

Despite the acclaim, the church’s congregation remained largely unseen, their presence neutralized in the predominantly white architectural narrative of the era. This erasure was eventually rectified in 1961 when the mission was granted full parish status, two years after the building was completed. Today, the congregation stands strong and the church continues to radiate its original beauty.

At Optima®, we find structures like St. Augustine’s Episcopal Church deeply fascinating, serving as profound expressions of the era’s architectural ethos that enrich our understanding of space, design, and community. St. Augustine’s Episcopal Church remains an enduring testament to Dart’s genius, a beacon of the Mid-century Modernist spirit that continues to captivate architects and designers worldwide.

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.

Isamu Noguchi Spotlight

For our projects, design doesn’t stop on the outside of our buildings. We carefully curate each and every interior to be an activating space that is at once beautiful and inviting. As part of that careful curation, many of our spaces feature furniture designed by Isamu Noguchi, a Japanese American artist, landscape architect, sculptor and furniture designer.

The Mid-century Modern “Airplane” Bimorphic Coffee Table, designed by Isamu Noguchi, at 7120 Optima Kierland.
The Mid-century Modern “Airplane” Bimorphic Coffee Table, designed by Isamu Noguchi, at 7120 Optima Kierland.

The Style of Isamu Noguchi

Born in 1904, Isamu Noguchi became one of the 20th century’s most critically acclaimed and important sculptors. His sculptural work covered a wide range of creations, spanning from sculptures, gardens, furniture and lighting designs, ceramics, architecture and set designs. Midway through his career, Noguchi became inspired by the idea of a more reduced form, focusing on an abstract and Modernist approach to create intriguing designs that elicited emotional reactions.  

“Everything is sculpture,” Isamu Noguchi once said. “Any material, any idea without hindrance born into space, I consider sculpture.” Noguchi believed that as a sculptor, he could shape space to give it order and meaning, contextualized by the surroundings in which it existed. 

It was only natural that furniture fell into his wheelhouse. Perhaps his most popular work, Noguchi designed a glass-topped table in 1947 to be produced by Herman Miller. The base of the table is made up of two identical wooden pieces, reversed and connected, and topped with a heavy plate glass top. When first sold, the table was marketed in the Herman Miller catalogue as “sculpture-for-use” and “design for production.” Noguchi strongly believed in producing his designs for mass market in order to bring fine art into the home. 

At Optima, we are proud to showcase Noguchi’s furniture within our own spaces, designs which serve to amplify and activate the evocative Modernist exteriors and interiors of our buildings.

 

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