The presentations offered a varied and substantive range of approaches to appreciating the Miller House’s creators: Brad Dunning included four animated videos relating to Alexander Girard’s work, all of which were smashing. Deborah Berke talked about her long admiration of Saarinen’s architecture with an emphasis on his small output of designs for residential design. It was illuminating, particularly from her own perspective as an architect. Laurie Olin discussed his affinity to the landscape design of Dan Kiley by showing Kiley’s architectural orientation in his work. (Like Olin, Kiley studied architecture before turning to landscape design.)

In the roles of the historians, Bradley Brooks and I established the context in which the Miller House needs to be understood. In his talk on the architectural legacy generated by Irwin Miller for the town of Columbus, Bradley introduced telling excerpts of magazine articles ( for example from the Saturday Evening Post and Architectural Forum) that were contemporaneous with the completion of each of the buildings.

I discussed the design and use of the Miller House according to three different perspectives: first was the mid-century modern context, in which I compared the house to others designed around that time by Charles Eames, Mies van der Rohe and Philip Johnson. Second, I introduced a historically based theoretical perspective by presenting an architectural analysis undertaken by Aaron Schiller, a grandson of Irwin and Xenia Miller. As a graduate student in Yale’s architecture program Aaron has been investigating the legacy of Andrea Palladio and his nine-square grid, plus Palladio’s use of proportion and rhythm in his designs. I also discussed Schiller’s exploration of Saarinen’s tectonic achievements in the house—particularly the x-shaped steel column and how it fits into the skylighted roof grid so that the column appears to be supporting a void.

I ended the talk with a third “history” –that of the users, by quoting anecdotes of the experience of two of the Irwin and Xenia Miller’s children, Betsey Miller and her brother Will. Not only did they have amusing anecdotes about living in the house as they were growing up, but they were able to fill in information about the instrumental roles that the parents, Xenia and Irwin Miller, played as clients in the creation of this amazing domestic landmark.

Michael Shapiro of ModernCaptital (left) and Barrett "Baz" Crites of Atomic Indy (right)

Taken together, the participants constituted a pretty impressive group. (By the way, has there yet been coined a word for a group of bloggers?)  Atomic Indy’s Baz was there, along with the Urbanophile (that’s some SERIOUS blogging), Apartment Therapy, and many others, about 15 in all.  I had visited some of their blogs prior to the June 12 tour, but my own digital world is on the narrow side, I have to confess, so most were new to me.  Suffice it to say that as folks were introducing themselves, I could only smile and nod, and reflect inwardly on my opportunity to see the Miller property act as one of the agents that would transform – if only for a weekend – a virtual community of iPhone-addicted hipster inhabitants of the blogosphere into a real-time, flesh-and-blood fellowship of Columbus, Indiana, architectural enthusiasts.

Group photo of bloggers at another mid-century modern residence in Columbus

It’s been great to have opportunities to conduct individuals and groups through the property; I’ve been able to get a sense of what has the greatest impact on people and of possible rhythms of a tour experience.  For many people – and for a lot in the bloggers’ group (where’s that word I need?) – seeing the central living area of the Miller House for the first time is an experience that doesn’t require much chatter from the docent or tour guide.  It’s pretty powerful.

Miller House interior

And that’s a hard one for me, having given tours of one kind or another since I was working at Nissley Vineyards before being old enough to taste the wine samples I was pouring.  Left to my own devices, I will talk ‘til my mouth is dry and I am out of breath, but the Miller House has taught me the value of silence as an interpretive tool as nothing else has done.

Individuals find in that silence time to form their own responses, questions perhaps, or to remember and compare other sites they have visited.  For some, the response can be quite deeply emotional.  One of the bloggers – OK, it was Baz – mentioned to me at one point while lagging behind others that the house had brought tears to his eyes.  I sympathized, having experienced the same thing many months earlier while viewing the landscape and feeling the impact of the soft green, near-perfect turf of the expansive west lawn stretching away beneath me in the glow of afternoon sunlight.

Miller House exterior

After having lived for almost 10 years in Indiana, the day of the bloggers’ tour was the hottest, most oppressive I can recall.  Thank goodness for the air conditioning in the house (Mr. Miller originally thought that central air wouldn’t be necessary – glad he changed his mind).  After seeing the interiors, we adjourned to the outdoors for a look at the gardens, and for some cocktails and refreshments.  Beads of perspiration glistened on every forehead and moistened every hairdo, but in spite of the soupy atmosphere, folks seemed glad for a chance to linger in the garden.

Miller House exterior

With dinner awaiting at another location, the bloggers’ party at the Miller House eventually shifted its venue.  Violent thunderstorms were just about to erupt in the superheated and saturated twilight. The bloggers and I took the property’s calm beauty away with us as the storms broke.  The electricity of the experience later crackled through the blogosphere.

Miller House

I was moved by I.M. Pei‘s sleek lines. Seduced by Eames‘ furniture design. Amazed by Harry Weese‘s understanding of light. But in all this courtship, something unexpected happened. An unmistakable tug at my heart strings and a tummy full of butterflies. I fell madly in love with landscape architect Dan Kiley. Well, to be exact, I fell in love with his landscape architecting skills.

Kiley knew the landscape a structure sits on is just as important as the structure itself. It’s a balanced, complementing relationship. A gentle dance across a crowded floor. Swoon.

I wandered through Kiley’s shaded clean grid patterns, well-trimmed shrubs and meticulously placed trees. All were in linear harmony with the horizontal and vertical lines of the structures at their center.

Kiley's work outside Saarinen's North Christian Church

I know what you’re thinking: “He’s so not your type!” Those who know me are aware “linear” and “well-trimmed” are rarely associated with my aesthetic approach. I’m more of an asymmetrical, scruffy and slightly overgrown kinda gal. So what was it about Kiley that stole my heart?

Mark Zelonis captured it in this post detailing the reverent experience he and Ed Blake (landscape architect for the IMA’s 100 Acres) shared while visiting the Miller House garden, designed by none other than my new beau, Dan.

Ed first witnessed the site decades ago while on a work assignment in Columbus. He was then only able to peek through the already tall arborvitae hedges guarding the property’s east side, but knew the place was indeed very special. After all, one of the 20th century’s masters of landscape design, Dan Kiley, had worked his magic here. For all of us in the field, this is a place for reverence.

Miller House garden

Columbus is adorned with Kiley landscapes, both public and private. Perhaps the most cherished are the grounds surrounding North Christian Church, the last building architect Eero Saarinen designed before his death in 1961. It is the last of three buildings in Columbus that Saarinen and Kiley worked on together. The building is woven into the fabric of the site like a fine Girard textile. I was lost, and found there.

Lucky for you, I won’t keep my Danny Boy all to myself. I’ll share him in the form of a Dan Kiley tour I put together  just for you (with the help of the Columbus, IN Visitors Association):

- North Christian Church: The entry sequence consists of a long curving drive that runs through open woods of old native hardwoods, to a series of parking lots formed into courtyards and camouflaging vehicles by high hedges and perimeter trees. Maple allees define much of the perimeter of the property. A small meadow bounded by woods, allees, magnolia grove, and hedges affords the single unobstructed view of the building.

Eero Saarinen's North Christian Church (1964)

- Irwin Union Bank: The 1954 Irwin Union Bank building was an early collaboration between architect Eero Saarinen and Dan Kiley. The building is flat-roofed, made of steel and glass in the International Style. Kiley wanted an office building within a garden. Kiley surrounded the base with thick groundcover and place it inside a grove of honey locust trees to connect inside and outside.

Irwin Union Bank (1954)

- Miller House and Garden: “A “classic of modern horticulture, unsurpassed in the United States…” — The Magazine Antiques. The IMA recently acquired the landmark Miller House and Garden in Columbus, Indiana. One of the country’s most highly regarded examples of mid-century Modernist residences, the Miller House was designed by Eero Saarinen, with interiors by Alexander Girard, and landscape design by Daniel Kiley.

Miller House and Garden

Miller House is slated to open to the public next year, but don’t sit around waiting til then to dive deep in to all the design goodness Columbus has to offer. Who knows, maybe you’ll fall head over heels too.

Miller House (via IMA Photography Department)

IMA TV was there as Bradley Brooks, IMA’s Director of Historic Resources, first opened a box of textiles and design plans belonging to Alexander Girard, interior designer for Miller House in Columbus, IN.

Here’s a little background on Miller House:

The IMA recently acquired the landmark Miller House and Garden in Columbus, Indiana. One of the country’s most highly regarded examples of mid-century Modernist residences, the Miller House was designed by Eero Saarinen, with interiors by Alexander Girard, and landscape design by Daniel Urban Kiley. Read more about it (and see some amazing images) here.

Pay close attention to facial expressions in this video, and you’ll just see how significant this seemingly small discovery is:

View through the orchard

Though much of landscape architecture involves the careful manipulation of spaces, the gardens at Miller House represent one of the best examples of the craft. Working closely with the home’s architect, Eero Saarinen, Kiley laid out a plan which closely reflects and reinforces the strict geometry of the residence. As with his many other commissions, Mr. Kiley used a limited palette of plants. This was not to be a garden of show-stopping color and horticultural diversity.

Rather, his use of hedges – mainly arborvitae and yew – served to create architectural “rooms”, not unlike the arrangement of rooms and ‘zoned’ spaces in the pavilion-like residence. The outdoor rooms are interconnected through corridors of trees – rows and blocks of honey locusts, oaks, horsechestnuts, redbuds, and even apples – as well as large expanses of paving, both hard and soft. These rectangular forms are further enhanced by the beds beneath, whether planted in spring bulbs or summer annuals, or simply mulched. Together, these elements and the extensive use of groundcovers provide a year-round structure, so important in shaping the spaces and giving clarity.

View through White Oaks to East lawn

While this is all so obvious when looking down upon the blueprints and plans, it also comes across marvelously in a more subtle way when one enters the property on foot. Though Saarinen wished for his clients, the Millers, to enjoy the views into the landscape through his ample windows, that view is carefully and purposefully halted at the edges of the property. This is an inward-looking site, versus something like ‘Naumkeag’ in Massachusetts or Philip Johnson’s ‘Glass House’ in Connecticut, where the view to distant mountains and hills is extremely important. Tall hedges and carefully sited rows and clumps of trees prevent vistas into neighboring yards. Instead, one’s views follow a lower plane, usually beneath the limbs of trees, along the tops of low hedges, or along an allee. It’s all about the use of space, and what a space it is. What if geometry class had been as much fun as this!

South drive

I think what we’re talking about is the poetry of space, that’s what landscape design is all about. – Dan Kiley

Its visual resonance is amplified by having been recorded by two of the most important architectural photographers of the twentieth century, Ezra Stoller (1915-2004)  and Balthazar Korab (1926-  ).  As we work to understand the property and the changes it underwent, to have the photographs taken by these men is to sift a treasure almost beyond one’s wildest hope. Many preservation projects must rely on much less for visual documentation.  Imagine being immersed a career of genealogical and historical research and suddenly working on an individual whose every portrait had been taken by Cecil Beaton or Irving Penn!

Monica and Balthazar Korab, Photo by Mark Zelonis

My first look at Ezra Stoller’s work was in The Galveston That Was by Houston architect Howard Barnstone.  First published in 1966, the book contains photographs by Stoller and by Henri Cartier-Bresson, and is credited with dramatizing the importance of architectural preservation in the decayed coastal city.  Stoller captured the Miller House and Garden shortly after its completion, some of the images appearing in Architectural Forum of September 1958 and in an article titled “A New Concept of Beauty” in the February 1959 edition of House and Garden.  In keeping with the family’s wishes, the house was published without naming its owner or location.  Stoller’s images, however, assumed a life of their own, achieving great staying power and continuing to illustrate publications about the property decades later.

While Stoller’s visits to the Miller House and Garden were limited to a brief period just after the house’s completion, Korab made several trips to Columbus over many years and so developed an archive of images that captures a sense of evolution and change.  Judging from his images, Stoller’s interest seems to have been more in the house than the garden, with the landscape appearing primarily at the margins of his photographs.  In contrast, Korab’s work responds equally to the architecture and to the landscape, giving it tremendous value to the effort to unravel the garden’s secrets.  Eero Saarinen:  Buildings from the Balthazar Korab Archive, published in 2008, presents a significant sampling of his work at the Miller property.

In June of this year, I had the opportunity to travel to Balthazar Korab’s studio in Troy, Michigan, with Mark Zelonis, Ruth Lilly Deputy Director of Environmental and Historic Preservation at the IMA, in order to review hundreds of photographs.  For the better part of two days, we visited with Balthazar and Monica Korab at their home and studio, enjoying their generous and gracious hospitality in an atmosphere that combined photography, architecture, gardens, and history, all enlivened with the Korabs’ sense of humor and whimsy.  An additional delight was the chance to see the Korabs’ own garden, built over decades on the gentle slopes surrounding their 19th-century house.

Korabs' Studio, Photo by Mark Zelonis

Korabs' Garden, Photo by Mark Zelonis

It was a joy to be with them both, to review the images of the Miller House and Garden with the man who took them, and to listen to anecdotes of a career that can only be described as humbling.  We heard stories of his early association with Le Corbusier, of his entry in the design competition for the Sydney Opera House, his work in Italy during and after a devastating flood in the 1960s, and of his work in Saarinen’s office while it was developing designs for the Miller house.  Of the Millers’ living room fireplace, a simple but exquisitely detailed freestanding cylinder, Korab remarked that the lengthy process of arriving at so pure a design had been responsible for changing him from an architect to a photographer.

Miller House Living Room, Photo by Balthazar Korab©

We spoke of his work to photograph the model for Minoru Yamasaki’s World Trade Center, which was so large that Korab had to rent a space to accommodate both the model and the necessary photographic equipment.  Monica Korab quipped at one point that Balthazar had photographed most of the works of what she called the “brand name” architects of the twentieth century.  I asked about Philip Johnson’s house for the Houston collectors and philanthropists John and Dominique de Menil (coincidentally, it was they who supported publication of The Galveston That Was).   In a moment, my inquiry was rewarded with a large file of color transparencies that recorded the idiosyncratic glory that resulted when the Menils, great collectors of surrealist art, engaged couturier Charles James to design the home’s interiors.  Another treat was to see photographs of Alexander Girard’s residence in Santa Fe, New Mexico, and to gain some insight into how his taste intersected with that of the Millers in designing and decorating their interiors.  Almost as an afterthought, out of the files came images of the interiors of Georgia O’Keefe’s house.  I was reeling by this point, feeling myself on the edge of a body of work so vast I could barely see into it, let alone comprehend it.

Balthazar Korab’s Genius Loci:  Cranbrook was my memento of the trip to Michigan.  Beautiful as this book is, however, I will remember the visit more for having been in the presence of so deep a repository of experience, of so keen a visual intelligence, whose work has helped shape our perception of the work of the 20th century’s greatest architects.

As the IMA website indicates, we have taken official possession of the Miller House and Garden in Columbus, Indiana. This will make the second National Historic Landmark property the IMA has in its collection (Oldfields-Lilly House and Gardens being the first). How’s that for bragging rights! As a practical matter however, home ownership is not all fun and games in this situation. Ahead lies a road of challenges for the staff working on MHG teams.

Columbus is an hour’s drive south of Indy, which makes it difficult to explore the house and conduct business with the current local staff. Director of Lilly House Operations Bradley Brooks, head of our team of six, has spent a lot of time on the phone and making the trek south in the run-up to taking possession of the property. He has interacted with everyone from members of the Miller family to a nephew of  Eero Saarinen. Bradley has been, and continues to be a very busy beaver.

The task of converting a residential property into a museum showcase has been an educational experience for our team, so far. It has forced us to look at all the things we do here at the museum, a lot of which we take for granted, and formulate how to adapt and transplant these practices to a former family home fifty miles away.

Chief Registrar Katie Haigh and Conservator-in-Charge David Miller (along with more staff down the road) will need to inventory, evaluate, photograph, and catalog the entire contents of the house. Katie and David are currently working with Buildings guru Bert Reader to determine what can be done with the climate control systems to best preserve the house and its contents. And don’t forget, the house itself is a piece of art–made primarily of steel, marble and glass—so David will have to develop a list of acceptable cleaning supplies, and a schedule for keeping the house spic and span. Structural drawings, building materials, maintenance records and other information on the house and other buildings on property will need to be collected and researched to assist with preservation efforts.

Bert, Safety Manager Mindy Summers and I have been looking at the safety and security needs of the house. Needless to say, there are some interesting and quirky aspects to MHG.

It’s been an Easter egg hunt at times to find some of the security devices hidden in the many nooks and crannies, and Bert has had to deal with the Complex Issues Dept. at the phone company. Who knew? In addition to proposing some upgrades to the existing security and fire systems, we have met with Columbus fire and police personnel to discuss access issues and response procedures to ensure smooth cooperation with local agencies.

Mindy and I will take our existing procedures from the IMA, such as access lists, on-call lists and key control, and adjust them to fit the Miller House environment. We will eventually have to add other safety procedures, such as a disaster plan and a hazardous chemical inventory, to the many books that will reside at the house. After the house is reconfigured to our satisfaction (or budget limits), we will determine staffing levels, work schedules, the inventory process, lockdown procedures and other security duties to be performed.

In the meantime, Director Max Anderson, Sr. Curator of Design Arts R. Craig Miller, Director of Environmental and Historic Preservation Mark Zelonis and others will devise the plan for how to present the house to the public.

The to-do list is endless, but having another landmark property like the Miller House adds a huge feather to the IMA’s cap and broadens the art experience that we can offer to our visitors.

Fashion in Bloom – Inside and out, the IMA is blooming. Last Friday I checked out “Fashion in Bloom” up on Gallery Level 2 and have had plants and garments on my mind ever since. Sometimes, I like to be contrary, so here are some garments on plants. And just because I think they’re both neat, here is a girl in a zipper dress which reminded me of the oft forgotten fashion item, Units/Multiples.

Innovative Coffee Lid – While I don’t usually drink coffee myself, I do appreciate a clever way to get the cream and sugar back to the office so a buddy can customize their drink to their liking.

Homes of Famous Architects – The IMA recently aquired Miller House and Garden and all the activity surrounding it has created within me an interest for home design. Here’s a connection, turns out the Eames home in Northern California was designed with the help of Miller House designer, Eero Saarinen.

Monday Music – “No One Does it Like You”  by Department of Eagles. I’ve been thinking about getting a fish and supposedly this band has a “Pet Sounds” flavor.No One Does it Like You