Modernism Archives - Page 8 of 19

Angie Chache Team Member Spotlight

Posted on March 9, 2022 by Hunter

Our passionate team at Optima is the heart and soul behind each of our communities and embodies all of our values daily. We recently sat down with Angie Chache, Optima Lakeview’s Property Manager, to learn more about her journey to Optima Lakeview and what excites her the most about this extraordinary new property.

Tell us a bit about your background and the role you play at Optima.

I have been in residential property management for almost 20 years, managing different types of communities in a Property Manager and Regional Manager role. With Optima Lakeview, I am the Property Manager, so I oversee the site itself. I’m responsible for the entire building and its system of operations, and because I’m jumping in just as the building is being completed, it will be my first lease up. I am excited about it!

What drew you to Optima initially, and what’s kept you working there?

Initially, a conversation with Ali Burnham, the Marketing Director, introduced me to the vibrant project they were building here. My first experience with an Optima community was actually Optima Old Orchard Woods; I was drawn to its classical modernist architectural style. So when the opportunity to join the team at Optima Lakeview came up, I was very excited. At Optima, there is this wonderful collaboration between all departments. With most companies, the architect/designer and developer/builder are separate entities. So at Optima, where we do everything essentially under one roof, I observe that things go much more smoothly on the operations side of things.

How do you view the concept of community at Optima? How does it differ from other properties/buildings?

Community at Optima means providing exceptional and curated experiences for our residents. The buildings are designed with extensive amenity spaces so they can seamlessly function as an extension of our residents’ homes. Our tagline at Optima Lakeview is Expect the Extraordinary, which I believe speaks for both the building’s outstanding architecture and the rich community we are creating within it.

One of our philosophies that encompasses our value around relationships and community is called the Optima Way. The Optima Way sets the stage for Optima experiences that are very unique and customized for every one of our residents. We strive to get to know every resident, what they like, what they don’t like, and how we can make all of their experiences unique. It’s about being encouraged by our company culture to create extraordinary encounters for the residents. When you live in an Optima community, it’s more than just living in any generic apartment; it’s about what residents can enjoy when they’re here and what we can do as a team to curate living experiences just for them.

There are a lot of luxury properties in the market, but what differentiates us is our suite of services. The resident events we frequently host are incredibly special, including fitness classes and kid-focused events (we’re one of the only communities doing this). And our grand amenity spaces are unlike anything I’ve ever seen. Residents at Optima Lakeview are going to feel like these spaces are an extension of their home. Some areas feel private, and others are great spots to gather with friends…because when you have that much space to spread out, it’s going to feel like home.

Optima has a unique set of values that differentiates it from other company cultures. How does that affect the quality of your work life? What values matter most to you?

My bucket gets filled every day. Yes, there are challenges and days that are hard, but there is also support and fluidity between the departments. We all work for the same company which, on the Property Management side of the business, makes my job so much easier. The two values that speak to me the most are that we build strong lasting relationships and that people are — and always will be — the most important pieces of the puzzle.

In my career, relationships — whether it be with employees, vendors, or residents — have been at the forefront of my values, and I always want everyone to feel welcomed and appreciated. Optima allows me to curate experiences for people and provide amazing customer service, and it isn’t typical of companies to have the customer at the forefront. Many companies say they value that, but Optima acts on it.

What makes you most proud to be a part of the Optima team?

The beautiful ,innovative designs of our buildings, how we impact our residents’ lives, and the intentional way we work to be a part of the communities we build in. I never really understood the thought put into Optima’s communities before I started working here. We strive to build long-lasting relationships and partner with businesses surrounding our community so our residents and the surrounding businesses can benefit from those partnerships we form.

I’m also proud of the way we give back to the communities where we have built. Recently, we partnered with Lakeview Pantry and worked there for a day, which allowed us to see the lives that are impacted daily by this organization right here in the Lakeview neighborhood. We are excited to partner with them long-term and see how our community can help support such an important cause.

With move-ins scheduled for the spring, what elements of Optima Lakeview should new residents be most excited about?

Everything! We have 198 units with 52-floor plans, which means sometimes there may only be one unit of a particular floor plan, so our uniqueness provides a sense of exclusivity. I can’t wait for residents to see our 7-story atrium that will be filled with an abundance of natural light and the vibrant vertical landscaping that will live inside of it — similar to the vertical landscaping we do on the exteriors of our Arizona communities. We will have 40,000 square feet of amenity space for only 198 residences. Our skydeck with 360-degree views of the city will also have a heated pool and jacuzzi that can be used year-round — even when it’s snowing. And, we’ll have private terraces that range from 300 square feet up to 2,000 square feet, some with private grills and firepits. Our community is like no other in this neighborhood.

New Book Release: Reflections on the Career of David Hovey Sr., FAIA

Posted on March 7, 2022March 16, 2022 by Hunter

Hot off the press is the spectacular retrospective of the 40+ year career of David Hovey Sr., FAIA, Optima’s CEO and Founder. David Hovey Sr., released by Images Publishing, is a collector’s item that arrived on bookshelves in January 2022. The monograph opens with a beautiful introductory essay by the late luminary architect Helmut Jahn, who wrote about their decades-long friendship and Hovey’s “staggering” influence on architecture. Entitled “Living Beautifully,” Jahn explains:

“The best thing that can be said about the work of David Hovey Sr. in his chosen field of multi-family and single-family housing is that he builds unique and inventive dwellings for people to live beautifully. That he chooses to play not just the role of the architect but also that of developer, contractor, construction manager, sales and leasing agent, and building operator makes the achievement even more remarkable. As his own client and CEO of his company, Optima, Hovey demonstrates that it’s possible to successfully execute the very different skills of an architect and a developer by applying tremendous knowledge and tenacity and assuming great responsibility. Many who have tried to work as an architect-developer have failed because they did not find the right balance. David Hovey expanded the role of the architect to the level of a master building and in this, he is without equal in his generation.”

In the words of friend and chronicler, Jahn talks about the arc of Hovey’s career:

“Hovey’s built work is a testament to constant refinement and improvement, each project a step along a path to take on new and bigger challenges, never being afraid of making a mistake by doing something new. The achievements of an architect become more evident with the passing of time. The good buildings become more important, the others will be forgotten.”

In Jahn’s reflections on Hovey’s deep understand of the complex issue of climate change, he shares his thoughts this way:

“David Hovey’s work should be recognized for more than its architectural design. This is particularly evident in his desert buildings where he addresses the important issue of climate change that challenges architecture today. Authorities measure energy consumption as the primary factor in building construction. Looking at energy efficiency alone is the wrong measure. We don’t have an energy problem, we have an emissions problem. Carbon dioxide is the principal culprit in climate change and the building industry contributes a considerable amount of it to the atmosphere.

“In Hovey’s buildings, there are strategies that address climate issues. This is demonstrated in the use of many prefabricated lightweight materials for load-bearing or non-load-bearing, enclosing parts. This extends to the use of recycled steel. Hovey regularly employs effective sun-shading devices. His strategies include LED lighting as well as energy-saving heating, air conditioning, and ventilation systems. Sustainability is assured by design and not through additional equipment or devices, which don’t pay off over time. Here, the mind of the architect and developer in one person can best design and build buildings where nothing can be taken away to come closer to perfection. Only through knowledge, determination, and a deep sense of responsibility can these energy goals be achieved, as the buildings show.”

Stay tuned for other inspiring excerpts from David Hovey Sr., along with stunning images of completed structures and his extraordinary sketches. For those who wish to purchase the book, it is available through a number of booksellers online.

Modernist Treasures: A Visit to Columbus, Indiana

Posted on February 28, 2022April 3, 2024 by Hunter

When you’re feeling a bit of wanderlust and looking for beauty in unexpected places, hit the road and make a beeline to Columbus, Indiana. Just 3-½ hours by car from Chicago and 50 miles south of Indianapolis, Columbus is a small city by American standards — and yet finds itself ranked 6th in the nation for architectural innovation and design by the American Institute of Architects.

As the website for Columbus explains, “Columbus is an improbable town. Every year thousands of visitors arrive to explore its streets and study its buildings, for it is one of the rare places on earth where the idea that architecture can improve the human condition has been put to the test. It’s a small, southern Indiana community with no apparent call to destiny that remarkably became an architectural ‘mecca.’”

The evolution of Columbus into an extraordinary experiment in modernist architecture began in the early 1940s when the industrialist J. Irwin Miller began commissioning world renowned architects to come to the city and undertake the design of commercial and municipal buildings.

A tour through the city will take you to a host of treasures including First Christian Church by Eliel Saarinen, the Irwin Union Bank, Miller House, and North Christian Church by Eliel’s son Eero Saarinen, and the Cleo Rogers Memorial Library by IM Pei. These commercial buildings and houses of worship expressed the deep beliefs held by J. Irwin Miller about the power of great architecture to shape the civic experience.

Besides being meticulously preserved, the buildings are situated in proximity to impressive public art installations that include works by Henry Moore, Dale Chihuly, Jean Tinguely, and Robert Indiana.

First Christian Church, Eliel Saarinen, 1942

Adding to the caché and allure of Columbus is a feature film that has drawn even greater attention to this unique metropolis. Columbus is a 2017 American drama written, directed, and edited by Kogonada was shot on location in 2016 over a period of 18 days. The film follows the son of an esteemed architecture scholar who gets stranded in Columbus and strikes up a friendship with a young architecture enthusiast who works at the local library. The film premiered at the 2017 Sundance Film Festival and was released in the United States by the Sundance Institute, receiving broad acclaim from critics.

When planning a visit to Columbus, visit the city’s comprehensive website for a guide to the city’s architecture or to schedule a tour. And if you want to get inspired in advance, you can stream the film Columbus on Amazon Prime.

Modernist Buildings in Chicago Everyone Should Know

Posted on February 22, 2022 by Hunter

Modernist tradition and design practices have been rooted in our identity at Optima for over four decades. The same appreciation for modernism is across countless iconic buildings throughout Chicago, where many of our multi-family residences reside. Here are just a few of the city’s modernist buildings we feel like everyone should know a little about:

Lake Shore Drive Apartments

Built in 1951, the twin residential towers, which reside at 860-880 Lake Shore Drive, exhibit modernist less is more ideology adopted by its architect, Ludwig Mies van der Roh. Originally seen as too complex, the project’s materials don’t stray from the norm as it utilizes steel, glass and aluminum. Not long after their completion, even with the critics at the time, the Lake Shore Drive Apartments became a template for modernist buildings across the globe.

875 N Michigan Ave

Previously known as the John Hancock Center, 875 N Michigan Ave is one of the most recognizable buildings in Chicago’s skyline. At the time of its completion in 1968, the modern masterpiece became the second tallest building in the world and the tallest in Chicago – a title it held for over 20 years. Skidmore, Owing and Merill, the architects behind the skyscraper, were pioneers for the new era of skyscraper design at the time and were the same architects behind the Willis Tower. Complementing the building’s basalt-black color, its façade is complete with unique X-bracing and a system of framed tubes which have allowed it to become an architectural icon.

Marina City

Often referred to as “the corn cob”, the mixed-use buildings became the first of their kind when built in 1964. The circular complex was designed by architect Bertrand Goldberg – a student of Mies – as a self-contained town. Each building shares identical floor plans and includes a theater, bowling alley, and various stores and restaurants. One of the most unique features of the towers is the near-complete lack of right angles found in their unique interiors.

Charnley-Persky House

One of the oldest houses in Chicago, the James Charnley Residence was built in 1892 and is one of the only surviving residential works of Louis Sullivan. Often referred to as the “father of skyscrapers and modernism”, Sullivan was a mentor to Frank Lloyd Wright and helped establish Chicago School architecture. The building is often considered to be the first modern house in Chicago. Although it has an essentially classic form, Sullivan introduced modern aesthetics, like it’s clean and simplistic design, which separated it from other structures at the time.

S.R. Crown Hall

Created to house his alma mater’s – the Illinois Institute of Technology – departments of architecture, planning and design, S.R. Crown Hall is one of Ludwig Mies van der Rohe’s most notable designs. The modern masterpiece was built in 1956 and is often recognized as one of the most architecturally significant buildings of the 20th century. Mies created Crown Hall utilizing basic steel and glass construction styles, creating a one-of-a-kind open space without interior obstructions. The building’s 18-foot-tall extended roof also helps to establish the feeling of universal space.

While these five of the city’s most iconic modern buildings, our list could go on forever. Next time you find yourself in downtown Chicago or traveling through the midwest, we encourage you to explore the modern masterpieces for yourself.

Women in Architecture: Neri Oxman

Posted on February 16, 2022April 3, 2024 by Hunter

As part of our ongoing “Woman in Architecture” series, we’re shining a spotlight on one of the world’s inspiring creatives, Neri Oxman. With a rich background in architecture and a drive to create, there was no question whether she would become the ingenious architect and designer she is today. Today, we’re diving into Oxman’s momentous life, work and achievements.

The Life of Neri Oxman

Oxman was born on February 6, 1976, in Haifa, Israel. Both of her parents taught architecture, and growing up, Oxman spent much of her childhood immersing herself in her parent’s studio, which helped her establish a desire for creation at a young age.

Originally, Oxman attended medical school in Israel, but after just two years, she realized that her interests belonged elsewhere. She began her architecture studies at Technion Israel Institute of Technology but eventually transferred to the Architectural Association School of Architecture in London – one of the most prestigious architecture schools in the world – where she graduated in 2004.

In 2005, Oxman traveled to the United States, where she began her Ph.D. studies in architectural design and computation at the Massachusetts Institute of Technology (MIT). Throughout her research at MIT, Oxman discovered her passion for environmental design and digital morphogenesis – a type of generative art. Oxman also launched her own research project titled material ecology – a term she coined – to experiment with generative design.

Design Philosophy

Oxman launched her research project material ecology – a term she coined – in 2006 while studying at MIT to experiment with more facets of generative design. Material ecology, Oxman’s design philosophy, combines aspects of 3-D printing techniques with biology, engineering and computer sciences to build objects and structures through natural growth instead of assembly.

The advanced philosophy also places humanity in harmony with nature, which is a principle of sustainable and regenerative design. Through her work, Oxman hopes to shift from consuming nature as a geological resource to instead editing nature as a biological resource. Oxman’s philosophy has led her to utilize biological shapes and textures throughout many of her designs.

Notable Work and Achievements

Much of Oxman’s early work involved only 3-D printing. At MIT, she founded the Mediated Matter research group where she has created almost all of her structures and designs – large and small. Oxman’s innovative 3-D projects range in size from complex enclosures to detailed pieces of clothing.

Some of Oxman’s most famous works utilize fabrications created by animals or other natural processes, including Silk Pavilion. The installation was created in 2013 with the help of 6,500 free-ranging silkworms that wove layers of silk onto a Nyon-framed dome. The completed project resulted in a stunning moon-like pavilion. The method of creation was recreated in 2020 for Oxman’s Silk Pavilion II, which resides in the Museum of Modern Art in New York City.

Inspired by vibrant marine life, in 2013, Oxman collaborated with renowned fashion designer Iris Van Herpen and materials engineer Craig Carter to create Anthozoa. The 3-D-printed dress used a mixture of hard and soft materials that were crucial to its movement and texture. Oxman worked with Carter again in 2014 for a project called Gemini, a chaise lounge chair consisting of a milled wood frame and a 3-D-printed upholstery. The intricate chair was designed with the intent to recreate a womb-like environment.

Anthozoa, Oxman, Iris Van Herpen and Craig Carter, 2013

Oxman and Mediated Matter have also prototyped various new tools for printing since the group’s founding. A few of the groundbreaking technologies include a printer that can create sections of rooms and an unprecedented glass printer. Alongside her extraordinary work, Oxman has also received many architecture and art awards as well as achievements throughout her career.

Senior Fellow in the Design Futures Council
London Design Festival Design Innovation Medal, 2018
San Francisco Museum of Modern Art Contemporary Vision Award, 2019
Dezeen’s Design Project of the Year for Aguahoja, 2019
Honorary Royal Designer for Industry by the Royal Society of Arts, 2021

Oxman’s illustrious career has led her to collaborate with some of the most resourceful designers in the world, further catapulting her unique philosophy into the spotlight of the design world. Today, she continues working with the Mediated Matter group experimenting with different forms of generative design, and teaches at MIT as a tenured professor.

Curated Furniture at Optima Lakeview: the Bertoia Side Chair

Posted on February 14, 2022 by Hunter

Our love of mid-century classic furniture can be found throughout all of the Optima communities. And with our soft spot for iconic seating, it’s no surprise that the famed Bertoia Side Chair is a staple in many of our amenity spaces. Let’s take a closer look.

About Harry Bertoia
Born in San Lorenzo, Italy in 1915, Bertoia built an international reputation as an artist, sound art sculptor and modern furniture designer. After leaving his home at the age of 15 to join his older brother Oreste in Detroit, Harry embarked on a career that centered on the exploration of modernist ideas and ideals, often in collaboration with some of the greatest thinkers and visionaries of that era.

In 1936, a one-year scholarship to the School of the Detroit Society of Arts and Crafts allowed Harry to study painting and drawing. He entered and placed in many local art competitions, said to be the most awarded student up until that time. The following year, another scholarship took him to the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Working among some of the most famous artists and designers of the modernist age, including Eero and Eliel Saarinen, Charles and Roy Eames and Florence Knoll, Bertoia’s creativity and mastery of materials flourished.

Bertoia as Furniture Designer
Bertoia was first exposed to furniture design at Cranbrook when Eero Saarinen and Charles Eames entered and won the Organic Furniture Design Competition sponsored by the Museum of Modern Art. In fact, Bertoia developed his initial chair design ideas while working with Charles Eames and others in California in the late 1940s, which he later incorporated into his work.

Bertoia eventually left Eames to join the Point Loma Naval Electronics Laboratory. While there, he learned how to study the human body to design control panels and knobs that focused on comfort for reach and grip. This sensitivity to ergonomics contributed significantly to Bertoia’s fascination with designing well-fitting practical chairs.

In 1950, at the invitation of former classmate Florence Knoll and her husband Hans, Harry moved to eastern Pennsylvania to work at their emergent furniture company Knoll, Inc. Florence had seen Harry’s work at Cranbrook, heard he had left Eames, and knew that he had enormous promise as a furniture designer. The Knolls offered him the opportunity to design what he wished with full credit and complete recognition of his work, which was their policy with all designers.

About the Bertoia Side Chair
Once on staff at Knoll, Bertoia was asked to develop hospital furniture, but he preferred to work with healthy bodies. He gravitated towards metal as his material of choice, and he continued to experiment with it until he landed on the concept of the wire grid, which could be shaped at will. with it until arising at the wire grid concept that could be shaped at will to conform to the human body. This was a radical departure from the use of rigid wood, which was characteristic of the late 1940s and early 1950s furniture. He not only created the airy welded metal design of the chairs, but also devised the production molds used for mass manufacture.

Knoll produced the first Bertoia chairs in 1952 — an amazing collection of furniture that reflects a profoundly beautiful study in space, form and function. As with other designers of his time, including Mies van der Rohe, Bertoia found infinite elegance in an industrial material, elevating it beyond its utility into a work of art.

Today, the Bertoia collection remains one of the great achievements of mid-century modern furniture design by one of the master sculptors of the last century and a proud part of the Knoll heritage.

Remembering the 1922 Art Week in São Paulo

Posted on February 7, 2022February 7, 2022 by Hunter

With Optima’s love for all things modern, we take great pleasure in diving into the history of modernism around the globe, including how the principles of modernism took hold in Brazil. And as luck would have it, the country is celebrating a huge milestone in February 2022 — the 100th anniversary of the Semana de Arte Moderna that runs from February 10 through 17 — so we are taking a closer look at this pivotal moment in time.

For the people of Brazil, 1922 was a landmark year. It marked a full century of independence from Portugal – and it was also the year that put Brazilian art on the international map, beginning with an idea emerged from a group of artists to host a week-long art celebration around modernism. Dubbed the Semana de Arte Moderna — this game-changing event took the form of exhibitions, lectures, poetry readings and musical performances that brought avant-garde works and ideas to the entire country.

Today, 100 years later, we look back at the Semana de Arte Moderna of 1922 and recognize it as a major turning point in the development of modern art. At the time, however, it was greeted with mockery, anger and fear. There were stories of horrified audiences throwing objects at performers on stage, and critics fuming with negative reviews of art, music and theater they didn’t understand.

Original poster for 1922 Semana de Arte Moderna, Wikipedia

Central to the works presented during the Semana de Arte Moderna was the theme of creating work that drew upon European influences but was uniquely Brazilian. This was a radical approach in 1922, since the European centers of art and culture had a tight grasp on what was considered “art,” and the idea that Brazilian artists had voices of their own was considered shocking.

Following the Semana de Arte Moderna, the Brazilian Modernism movement blossomed. Throughout the 1930s and ’40s, while much of the world was still in a state of flux about what exactly constituted ‘modern’ art, the country was leading the way into new styles of artistic expressions that were quickly embraced by Brazilians as a unique cultural identity. And with this new-found inspiration and energy, the modernist architecture movement took hold.

The painting A Negra by Tarsila do Amaral was part of an exhibition of her work at Semana de Arte Moderna. From Caixa Modernista, Edusp / Editoria UFMG / Imprensa Oficial, São Paulo, 2003.

In the 1950s Brazil decided to found Brasilia, a new capital city heralded as a great experiment in modernist architecture, to help develop Brazil’s interior. Led by the vision of Brazil’s most famous architect and designer, Oscar Niemeyer, the country began to define itself by its modernist aesthetic, with buildings characterized by their use of concrete and free-flowing curves.

As we reconsider the impact the 1922 Semana de Arte Moderna had on the rise of modernist architecture around the globe, we can’t help but recognize how the forever modern principles we practice at Optima fit into a larger context. It is Optima’s pleasure and privilege to be such an esteemed and vital company.

The Intersection of Fashion and Architecture

Posted on February 2, 2022April 3, 2024 by Hunter

Coco Chanel famously stated, “fashion is architecture, it’s a question of proportions.” While architecture can span hundreds of meters, fashion is typically crafted on a much smaller scale. Without question, however, both artful expressions involve a balance of creativity, functionality and innovation that often evolves with time. With our passion for architecture here at Optima, we’re exploring the inherent intersections between fashion and architecture, along with some talented creators who have discovered how to successfully cross the boundary that can separate the two.

An Affinity For Craftsmanship

The fields of architecture and fashion have been influenced by the same movements over time, including art, culture, economics, science and technology. And as various modernizations affecting form, materials, lighting and techniques for fabrication have changed our world, designers continue to adapt and innovate.

To be sure, designers and architects treat their creations as works of art, translating their emotions and visions through various acts of color, line, shape and form. Taking advantage of technological innovation, visionaries in both fields continue to share extraordinary new creations with the world through their exploration of glossiness, transparency, texture, color and structure. And in the process, they reinforce the intrinsic linkages between fashion and architecture that delight, surprise and inspire.

Various selections from Virgil Abloh’s first Off-White collection, 2014

Individuals Who Have Found Success Crossing Fields

Countless individuals have elegantly walked the line between fashion and architecture. Some creatives first find themselves constructing shelters made of steel and wood but eventually shift to materials like cotton and silk for contrasting yet similar purposes.

Virgil Abloh, the late Director of Louis Vuitton and Founder and CEO of Off-White, didn’t always work from a sewing machine. Abloh, who studied civil engineering and later received a master’s degree in architecture from the Illinois Institute of Technology, often took inspiration from his past experiences in architecture to propel his career in the fashion industry, using materials and structures uncommon to traditional fashion design. In fact, Abloh credited the inspiration for his acclaimed debut Off-White collection to Mies van der Rohe’s Farnsworth House and exhibited it with references to both Baroque and Bauhaus art.

Louis Vuitton Icone Bag x Zaha Hadid, 2006

Zaha Hadid, one of the most influential and iconic architects in modern history, also successfully explored the dynamic relationship between architecture and fashion throughout her career. Known for her extensive use of curvature and emphasis on linework in architecture, Hadid brought her inspirations to the fashion world to design products that had not been explored before. Partnering with various luxurious fashion brands, including Louis Vuitton, Fendi and Lacoste, Hadid created ultra-modern bags, shoes and jewelry that fused signature elements of architecture and fashion.

Today, countless fashion designers and architects continue to dismantle the boundaries between these disciplines with innovative constructions. Renowned fashion designer Iris van Herpen recently collaborated with Netherlands-based architecture firm Neutelings Riedijk Architects to transform the national research institute for biodiversity, Naturalis. Van Herpen was inspired by the museum’s collections, to replicate erosion patterns from the volcanic island of Lanzarote.

For decades, fashion designers and architects have crossed paths and shared similar inspirations within their designs – whether they know it or not. And for decades to come, these collaborations will continue to happen, expanding and advancing the fashion and architectural world.

The Future of Sustainable Design in Architecture

Posted on January 31, 2022April 3, 2024 by Hunter

At Optima, sustainable design has always been part of our ethos, as we strive to create vibrant communities built with the surrounding natural environment at the forefront. And as technology continues pushing the boundaries of sustainability in architecture, we wanted to explore what the future might possibly hold.

Historically, sustainable architecture has focused on lush outdoor environments, and at Optima, we know the benefits of urban greenspaces, which is why we have incorporated them into our communities for decades. Urban greenspaces and vertical landscaping are just some of the many sustainable features found in many of our Optima communities that help promote mental and physical health, while mitigating pollution and emulating the feeling of oasis.

Today, as new age modernism continues to evolve and environmentalism exceeds formalism, designers and architects are developing new ways to create built environments that also benefit the Earth. The newest approach to sustainable architecture is found within regenerative building.

Regenerative building looks beyond lessening harmful impact; it seeks ways to repair and restore the surrounding environment. In the regenerative design process, innovators conceive ways for each building to produce its own energy, treat its own water and emit a net-positive impact on the environment.

The Centre for the Built Environment’s living wall which features 24 plant species and 7,000 plants, courtesy of Nova Scotia Community College

While global contests like Redesign the World are encouraging designers to envision radical solutions to end environmental issues through built communities, some architects have begun to bring regenerative building to life.

Buildings like The Kendeda Building For Innovative Sustainable Design found on Georgia Tech’s campus and Portal High School in Irvine, California use green roofs and water collection systems to reduce reliance on negative forms of energy. Other buildings like Nova Scotia Community College’s Centre for the Built Environment take advantage of multiple sustainable design features like living walls, geothermal systems and solar and wind energy to regenerate and restore their surroundings.

As sustainable approaches to design continue to expand over time, we can’t wait to continue exploring how – through architecture – we can change contribute to a healthier, more sustainable environment.

Women in Architecture: Charlotte Perriand

Posted on January 26, 2022 by Hunter

A trailblazer for women designers, Charlotte Perriand always found a way to reinvent her work with the ever-changing aesthetics of interior design and architecture in the 20th century. She forged herself as a leader of the avant-garde cultural movement, which influenced new perspectives and values in the design world. Today, as part of our ongoing “Women in Architecture” series, we’re exploring the life of this exceptional designer and some of her most celebrated creations.

The Life of Charlotte Perriand

Perriand was born in Paris, France in 1903. She lived with her mother, who was a talented seamstress, and her father, who worked as a tailor in the city. Because of the lively energy of her surroundings, Perriand found a deep appreciation for city life but also relished her frequent visits to her grandparents’ home in the French Alps, where the natural environment was peaceful and calm.

At a young age, Perriand discovered a passion for the arts. As her talents continued to flourish, Parriand’s mother encouraged her to push herself by attending École de l’Union Centrale des Arts Décoratifs in Paris. From 1920-1925 she studied under the renowned artist and decorator Henri Rapin, who helped bring her unique ideas to life.

During her time at École de l’Union Centrale des Arts Décoratifs, Perriand learned to incorporate popular aesthetics such as ornate patterns, warm materials like wood and soft textiles like cotton. Dissatisfied by the status quo, Perriand pushed her interests and fed her curiosity by enrolling in classes made available through large department stores that housed their own design workshops. Encouraged by the reactions to her creations that incorporated glistening surfaces, reflective metals and blunt geometric forms, she began to submit her work to expositions throughout Paris. Perriand’s most notable entry at the time was Le Bar sous le toit, or Bar in the Attic, at the prestigious Salone d’Automne, in1927. This installation of furniture, finishes and a built-in bar reflected the current machine-age landscape and displayed a bold design featuring nickel and other metals. Emboldened by the reactions of her peers, Perriand quickly began embracing these taboo materials in her work, conveying exciting new interpretations of modern design.

An initial sketch for Bar in the Attic, Charlotte Perriand, Paris 1927, courtesy of Intérieurs Fig. 40

Career and Achievements

After the success from Bar in the Attic, Perriand had a difficult time discovering what her next move should be in the art world. She took advice from a friend, jewelry designer Jean Fouquet, and immersed herself in the intensive literature of Le Corbusier. Dazzled by his work, Perriand reached out with her portfolio for a position at his atelier. After a hasty dismissal, she showed Le Corbusier her acclaimed Bar in the Attic project, which caused him to reverse his decision and hire her on the spot.

The Grand Confort, designed by Charlotte Perriand, Le Corbusier and Pierre Jeanneret

While working for Le Corbusier and his cousin, Pierre Jeanneret, Perriand contributed to the design of some of their most celebrated furniture pieces: the basculant sling chair (known as LC1), the Grand Confort (LC2 and LC3) and the chaise lounge chair (LC4). However, her impact reached far beyond furniture; Perriand brought to life the trio’s vision of modern luxury as Equipment for the Home for the 1929 Salon d’Automne, which included an entire apartment set with a bold kitchen and bathroom.

Perriand left Le Corbusier’s atelier in 1937 after ten years of extraordinary growth and accomplishment. Her expertise led her across the world, but she eventually traveled back to the French Alps, where her roots enticed her to work on her largest – and final – project, Les Arcs. Composed of three different structures and built over a nearly-20 year period, Les Arcs brought to life a new style of living with an open-plan interior and an exterior integrated into the surrounding natural environment.

Les Arcs, designed by Charlotte Perriand, courtesy of Matthew Rachman Gallery

The bedrooms of the famous ski resort were built with minimal design elements. Thoughtful design was instead prioritized in communal spaces, like the great rooms, where windows opened to vibrant sunlight and views of the pristine natural surroundings.

Throughout her illustrious career, Perriand preferred to look to the future instead of reflecting on her previous work. And on this life journey,Perriand established herself as a fearless forward-facing designer who was eager to reinvent her design philosophy over and over.

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Tag: Modernism