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A reminder of classical Rome in Indiana

Early January in Indiana is a time that limits activities in the garden. At the Miller House, there has been flood clean up from the rains that came just before Christmas, and tree pruning is an annual winter task. Otherwise, there is planning for the coming year and reflection on the year that’s passed.

Thinking back on 2013, one item that we’ve checked off the to-do list is repairs to the fountain in the north garden. The main element of the fountain is an alabaster bowl, purchased by the Millers while on a trip to Rome in 1957. In a letter to Alexander Girard, Mr. Miller referred to it as a “Second Century Roman alabaster bowl” that he and Mrs. Miller purchased to “add to our house some reminders of classical Rome.” As a classics scholar himself, Mr. Miller would have found such mementoes particularly meaningful.

By the time the museum acquired the property in 2009, the fountain was in need of attention. The bowl itself was badly cracked, its metal lining was failing, its exterior was thickly encrusted with mineral deposits, and its spray jet had been replaced with a short length of white PVC pipe – the stuff plumbers call “schedule 40.” Not attractive.

 

Laura Kubick of the museum’s conservation department worked with Kemna Restoration and Construction, Inc., of Indianapolis to undertake the needed repairs. Of all aspects of the project, the most challenging was the removal of the mineral deposits on the bowl. Ranging in color from brown to white, these deposits obscured both the color of the material and the details of its carving. The completed bowl emerged as lustrous black with faint white veining, beautifully echoing the color scheme of the house itself. Its exterior was handsomely carved with strigillations, the curving flutes most often associated with Roman sarcophagi. Miller House site administrator Ben Wever found the spray jet among irrigation parts in storage and took it to a local metal fabricator for repairs. When reinstalled, the fountain again brought the sound and movement of water to the Miller garden, but now in a way that represents the Millers’ aesthetic intention.

Presently, the fountain is snugly covered with a Tyvek shroud to protect it from freeze-thaw damage as we look forward to the fine spring days when it will again sparkle with water droplets and add its soothing note to the garden.

Filed under: Art, Conservation, Guest Bloggers, Miller House, Uncategorized

 

Remaking a rug at Miller House

Today's blogger is Bradley C. Brooks, Director of Historic Resources and Assistant Curator, American Decorative Arts at the IMA.

It seems that an important reason why the Miller House and Garden has retained so much of the integrity of its original design is that the Millers greatly cherished and valued the work that Eero Saarinen, Kevin Roche, Dan Kiley, and Alexander Girard produced for them. They were patient partners in the design process and tended to seek refinements, rather than wholesale changes, as the house evolved through later years.

miller_house_carpet

Top: The den rug before replacement. Bottom: The new den rug.

The rugs in the house are a case in point. The rug presently under the dining table, for example, is the fourth generation of the original Girard design. The first was one of a group of flat-woven rugs produced in France, all of which were later replaced with looped-pile versions of the same designs. With wear and food spills, the dining room rug was the most often replaced.

At the time the museum took ownership of the property, the Miller family had begun a project to remake a number of rugs in the house. Most in need of replacement was Girard’s den rug, which had been worn quite through in a few spots. We fudged it for a while with the placement of furniture to hide the worst of the damage, but this was only at temporary fix.

As with any such project, there were concerns about achieving the appropriate weave structure,  pattern, and color accuracy. We had received some of the original design drawings as part of the Miller House Archives, and IMA conservators had painstakingly removed unfaded fibers from deep in the rug’s pile in order to make accurate color comparisons. After several rounds of adjustments and approvals, we gave a go-ahead to Edward Fields to put the rug into production.

The new den rug!

The new den rug!

In mid-April of this year, the new rug was ready to install, and it more than lived up to all our expectations. The vibrant colors were back, and the many emblems of family history and association were renewed, all rendered in a highly disciplined, multiple colorway grid of lozenges – a glimpse into the mind and design process of Alexander Girard.

Filed under: Conservation, Design, Miller House, Textile & Fashion

 

The Venini Chandelier sparkles again

Since the IMA took ownership of the Miller House and Garden in 2009, we have come to know more intimately the gift of a 20th-century architectural masterpiece. The Miller House is worthy of many superlatives, but as an older house requiring care and maintenance it presents challenges and surprises just as would any other. The questions may be framed slightly differently, but the joys and frustrations are much the same.

Bonnie Cate and Jeanine Franke (Miller House housekeeper) cleaning individual glass pieces while Ben Wever, site Administrator, and Bradley Brooks gently remove each strand of glass from the chandelier.

Bonnie Cate and Jeanine Franke (Miller House housekeeper) cleaning individual glass pieces while Ben Wever, site Administrator, and Bradley Brooks gently remove each strand of glass from the chandelier.

A task that we knew we would face one day was bulb replacement and cleaning of the Venini chandelier above the Millers’ dining table. This fixture was not part of the original furnishing scheme for the house, but came as a later addition after the Millers purchased it in Italy in about 1960. We had heard stories of the care and effort required of Miller employees to dismantle the chandelier for cleaning, but being reluctant to tackle such a daunting project, I had pushed it to the back burner where it stayed until nearly every bulb was out. Now we had no choice. Dismantle or go dark!

Chandelier with all metal and glass components removed. Tags indicate pattern of glass colors to help with reassembly.

Chandelier with all metal and glass components removed. Tags indicate pattern of glass colors to help with reassembly.

To prepare for the task, we padded and covered the dining table and placed a series of folding tables nearby on which we could wash and dry each of the 200 individual polyhedral glass “prisms.” A crew of four went to work; two to stand on the table to dismantle the chandelier, and two to do the washing and drying. In this design, the glass elements are suspended from a steel frame on linked wires, each pendant group fastened to the frame with a tiny nut and bolt. Tedious work, but we soon found the system and a rhythm. It took until early evening to reassemble everything, but with the glass cleaned, the sparkle of the chandelier was restored, more charming than ever.

The newly cleaned Venini chandelier lit up.

The newly cleaned Venini chandelier lit up.

With the glass off the frame, it was evident that the chandelier still had its original European wiring and fittings, which had been adapted to accept standard U.S. chandelier-base bulbs. Yellowed with age, they are past due for a rewiring. That will be a task for the winter. Just like every old house project, one thing only leads to another.

Filed under: Conservation, Design, Miller House

 

Authentic Alternatives

Eero Saarinen and Alexander Girard’s conversation pit, a square architectural recess lined with upholstered couches and throw pillows at the Miller House has been preserved, though not as the artists originally created it. The Miller family commissioned Eero Saarinen and Alexander Girard to design the conversation pit in 1953 and the family enjoyed it for decades. As the Millers aged, the conversation pit became increasingly difficult for them to enjoy because the cushions were low and difficult to stand up from. In 1995, the Millers asked Kevin Roche John Dinkeloo and Associates to modify the profile of the cushions to accommodate their comfort. Today the cushions have a larger profile and are made out of a different fabric. The decision to preserve the conversation pit at this later moment is keeping with the curatorial interpretation of the home.

Joseph Irwin and Xenia Simons Miller.

Joseph Irwin and Xenia Simons Miller.

Conversation Center, 3 January 1995, FF68, Miller House and Garden Collection.

Conversation Center, 3 January 1995, FF68, Miller House and Garden Collection.

So, the original materials are no longer present in the cushions, yet the cushions are authentic — I’ll return to this riddle in a bit. In early December I had the opportunity to have a rousing debate on the topic with one of my favorite colleagues, Joelle Wickens, the result of which was captured and presented in Glasgow, Scotland.

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Filed under: Conservation, Miller House

 

Peeking into the Miller House and Garden Collection

Among the many holdings of the IMA’s Archives is the Miller House and Garden Collection, the records documenting the design, construction, and maintenance of the Miller House and Garden in Columbus, Indiana. We’re happy to announce that you can have a peek at some of these materials online as we digitize the collection, thanks to a grant from the National Endowment for the Humanities (NEH).

The importance of the Miller House and Garden to Modern design in the United States is clear: the house, named a National Historic Landmark in 2000, has been described as a paragon of mid-century modern residential design and its garden is considered to be among the most important Modern designs in American residential landscape architecture. And just as the Miller House and Garden is not your average residence, the Miller House and Garden Collection (MHGC) is not your average architectural archive.

What distinguishes the MHGC from other architectural collections? That’s easy. Size, multiple perspectives, time span, and types of materials.

How Big is Big?

For a collection about one house, the Miller House and Garden Collection is big. Very big.

View of Miller House and Garden Collection boxes.

Archival collections are often described in linear feet, but describing this collection as 333.5 linear feet means little to most people. Nor is it easy to picture 23,000 records. To break it down by other numbers – 51 boxes of files, photographs, samples, and drawings; 2 card file boxes; 12 oversize flat boxes of photographs and material samples; and 40 flat files of architectural plans – may provide a slightly better picture. As may analogies like this: if the records were laid out end to end they could lap the Indianapolis Motor Speedway twice or stretch the length a football field 88 times!

But what makes it so big is less about its physical size and more about its content – 50+ years of documentation representing hundreds of voices.

The Clients, the Architects, the Landscape Architect, the Contractor

A remarkable feature of the MHGC is the number of voices you hear: the clients, the architects, the landscape architect, contractor, suppliers, and engineers. Generally architectural collections present just the perspective of the architect. Sometimes papers from the client survive. Yet not in a single collection.

Correspondence in the Miller House and Garden Collection.

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Filed under: Design, Miller House

 

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