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Wilmette Architecture Spotlight: Bahai’ Temple

Chicago has earned its place on the architectural map thanks to the countless architects who helped fill the city with unique designs. Not to be outdone, the Chicago suburb and home to Optima Verdana, Wilmette, also boasts a myriad of architectural wonders itself, from houses designed by Frank Lloyd Wright to a Prairie-style ‘L’ station still in use. Today, we’re taking a closer look at the architectural history behind Wilmette’s iconic Baha’i House of Worship. 

Plans to construct a Baháʼí temple in the United States began in 1903. At the time, only one other temple existed throughout the rest of the world in Turkmenistan. Baháʼí’s presence in and around Chicago made it the perfect city to build in, but leaders in the religion wanted to build in a quaint community outside of the city and eventually, they decided on Wilmette to harbor the temple. 

Constructing the dome of the Baha’i House of Worship, Wilmette

In 1907, individual Baháʼí contributors purchased two lots alongside Lake Michigan. Groundbreaking on the nearly 7-acre site began in 1912, but construction on the building didn’t start until eight years later, in 1920. The community chose Canadian architect Louis Bourgeois – a collaborator of Louis Sullivan – to design the temple. 

Bourgeois’ design drew inspiration from Baháʼís’ belief of unity and was chosen due to its diverse inclusion of architectural styles. The most prominent architectural styles include Neoclassic, Gothic, Renaissance, Romanesque and Islamic arabesque. The temple’s superstructure was completed in 1931, and construction on the building’s entire exteriors finished in 1943. However, the interior had yet to be designed. 

Designers had a difficult time choosing what material to use throughout the design, debating between granite, limestone, terra cotta and aluminum before deciding on concrete made of cement, quartz and other natural stone. Many intricate details are carved into the concrete drape across the exterior facade. Along with its lush gardens and fountains the temple’s most brilliant feature is its 72-foot-wide dome. The temple features nine dome sections and nine interior alcoves, symbolizing completion. 

An interior view from the top of the dome featuring the intricate Islamic arabesque design

More than 3,500 people attended the dedication of the temple in 1953 following the completion of its construction. It was added to the National Register of Historic Places in 1978 and is continuously voted one of the most must-see places in the country. 

Today, Wilmette’s Baháʼí’ House of Worship is the oldest standing temple of Baháʼí and the only in North America. To learn more about the architectural wonder and visit it yourself, head to the website here

The Synthesis of Art and Architecture

Art and architecture share a rich, timeless connection rooted in their design, creators and intended meaning. Both forms of expression become envisioned and constructed through similar principles, visual elements and ambition to engage with one’s senses. Today, we’re exploring this essential relationship and what happens when the two worlds collide. 

David Hovey Sr., FAIA, Optima’s CEO and Founder, says it best when describing the linkage between art – in particular, sculptures – and architecture, saying that “architecture is about function, as well as aesthetics, while sculpture is really just about aesthetics.”

Architecture is traditionally informed by functionality first, with aesthetics coming into play as with a significant role. Art, on the other hand, is commonly guided by aesthetics, without any burdens to deliver an object or outcome that is functional. However, both forms of expression are typically influenced by similar social and political factors that affect the environment surrounding the work or structure. 

Centuries-old cultural movements, including the Renaissance, where art imitated life and vice versa, demonstrate the linkage between art and architecture. However,  it wasn’t until the Avant-Garde movements of the late 19th and early 20th centuries that the integration of the two took a new meaning. 

This integration between the disciplines quickly became a core characteristic of modernism and modernist design, and is distinctly present in the work of some of the greatest architects and artists of the time period. Because artists use their art as a tool to shape emotions, modernism emerged as an expectation in which art and architecture would provide a new value when combined. 

Oscar Niemeyer’s Oscar Niemeyer Museum exhibits the synthesis of art and architecture, displaying bold geometric forms, sculptural curves and vivid murals in a functional structure, reminiscent of a human eye.

The Bauhaus Movement was one of the first to introduce this idea, encouraging the unification of all arts and coupling aesthetics with the technology of the time. Notably, this ideology was cultivated through Le Corbusier’s use of painting and sculpture within his established concepts of architecture. Le Corbusier also argued that it was of equal importance to architects, painters and sculpturists to contribute constructive collaborations to the world by designing and creating in harmony with one another. 

Along with Le Corbusier, various other artists throughout the past century have tried to synthesize art and architecture throughout their work, particularly Oscar Niemeyer, Mies van der Rohe and Zaha Hadid. Today, architects and artists continue to collaborate and integrate their disciplines more than ever, exploring and expanding the dynamic relationship shared between the two.

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