“Chaos I” is a large kinetic sculpture by Swiss artist Jean Tinguely located inside The Commons in downtown Columbus. The work was commissioned by J. Irwin Miller, his wife Xenia and his sister Clementine Tangeman to be a focal point in the public space called The Commons which was adjacent to the indoor shopping mall that was originally called the Courthouse Mall all designed by Cesar Pelli. It was part of a major downtown redevelopment program starting in the late 60’s. The shopping mall and the public space opened in the early 70’s and the sculpture was installed in 1974. Most of the shopping mall itself has now been demolished and replaced by office buildings and the community space where Chaos stands has been completely rebuilt with the sculpture staying in the same place throughout the transformation period.
Pelli had envisioned a large sculpture to act as a focal point of the Commons, a place for people to meet and greet. He created the vast community space next to the shopping mall as a modern indoor version of an Italian piazza. He thought the space needed a giant “toy”, a whimsical clock-like structure that would be intriguing to both children and adults. He envisioned it as a meeting and gathering place for people coming downtown. He convinced J. Irwin Miller to commission a work by Swiss sculptor Jean Tinguely who was well known for creating large scale kinetic sculptures around the world. Pelli was especially impressed by a Tinguely work in Zurich, Switzerland called “Eureka” that bears certain similarities to our Chaos. The Miller’s and Clementine Tangeman reportedly paid $130,000 for the sculpture as a gift to the city
What resulted was “Chaos I”, a 30 foot tall, 30 foot at its widest point, 7 ton structure that was fabricated mostly of scrap material found in and around the local area. The sculpture moved, changed and made noise in a seemingly random manner throughout the day. Initially it had what has been defined as 13 different functions that moved over 50 individual components with 12 different motors, including a function that once pivoted the entire sculpture 70 degrees at the base. Over time several of the movements were disabled particularly the pivoting of the base which was deemed unsafe both to the sculpture itself and the public walking by. Tinguely himself wanted it to appear rickety as if something might fall off at any given moment. Tinguely considered it to be one of his best works and described it as: “Life is movement. Everything transforms itself, everything modifies itself ceaselessly and to try to stop it seems to me a mockery of the intensity of life.” Pelli saw it as a modern version of the clock in a traditional town square. Although residents were skeptical at first, it gradually became a beloved icon to most of Columbus. A shallow water-filled moat surrounds the sculpture pedestal which of course became a wishing well with adults and children alike tossing coins in around the base of Chaos. Sometimes a childs first instinct is to jump into the very shallow pool and try to recover a coin or two but it only takes a quick adult lesson to convince them of the joys of wishing. The name of the sculpture came from the fact that Tinguely saw the adjacent playground as “Chaos #2.” Tinguely apparently didn’t put a lot of effort into choosing the name but he did always refer to his machine as a “she”. When asked about the name, Tinguely just shrugged and said, “the name will do.”
Pelli wanted to the sculpture to operate in a consistent manner like a clock while Tinguely insisted that it be completely random in its movements. What resulted in its original configuration was having the sculpture cycle through a series of motions that simulates a day in a life, beginning slowly at first, adding movements as it builds to a noisy, even angry crescendo and then winding down again at the end of the day. It was described as having a “Jekyll and Hyde” personality so visitors could experience it sometimes as being calm and peaceful with only a few functions working and other times with all of them working at once becoming a noisy, angry, clanging and yes chaotic machine. As originally programmed in 1974, it was meant to have all elements running around 12:00pm and 6:00pm with lesser operation of various elements throughout the rest of the day. This was also the default programming of the restored Chaos along with the ability to set up different daily scenarios as desired or to shut it off completely by remote control if an event is taking place in the space.
Tinguely’s original intention was to produce the sculpture in Paris and have it shipped to Columbus but after several visits he decided to do all the work here. It seems he had developed a genuine affection for the people and the local culture in Columbus. He was known to enjoy consuming American meals of steaks and french fries at local restaurants and spent many of his evenings in local bars, particularly the Columbus Bar on 4th Street across the street from the Commons. He enjoyed walking the downtown streets and was sometimes seen driving around the area in a tan Ford pickup. He spent nearly two years off and on in Columbus working on the project. Tinguely was an unusually colorful character by normal Columbus standards with his walrus mustache, busy eyebrows and was often seen wearing a colorful neck scarf. While in Columbus Tinguely’s affairs were handled by the Irwin Management Co. and he and his assistants stayed in a house they provided him on Youth Camp Road.
Chaos was fabricated from new and scrap material much of it purchased in or from the Columbus area. He spent a considerable amount of time in Columbus gathering materials and constructing Chaos. Tinguely was reportedly quite impressed with the high quality of our scrap metal supply! The scrap metal came from the then downtown Kroot Corp. scrapyard as well as the former downtown city dump. A large bearing used on the base came from the Southern Machine Co. and many of the spinning metal shapes were created by Noblitt Fabricating. The original 12 motors, gear reducers and electrical supplies were supplied by the Daniel-Hayden Electric Co. Verl Mauzy, an electrical engineer with Daniel-Hayden Electric Co. designed and built the control panel that enabled the sculpture to be programmed or to be turned off entirely. 7 of the 12 motors were manufactured locally by the Reliance Co. The project was constructed at the old Columbus Pump House/Senior Center building which had been recently vacated by the Southern Machine Co. Tinguely and his assistant Josef “Sappi” Imhof worked with local craftspeople to gather materials and construct the project and then moved it in pieces to the final site in the Commons. Tinguely was 47 at the time Chaos was constructed and he had created at least 400 prior kinetic sculptures. At that point in time, Chaos was his largest work and he considered it to be his very best.
The entire sculpture is mounted on a substantial steel base resting on a concrete pedestal with a 1/2′ thick layer of cork between them to minimize vibration into the rest of the building. Four very large nuts and bolts anchor the lower platform of the sculpture onto the base. It is surrounded by a moat with a shallow pool of water. A large flat piece of curved steel is the primary vertical element onto which all the other various pieces attach to. Some have criticized the new Commons space as being too confining for the giant sculpture but the upper parts of Chaos can now be closely viewed on three sides by the new mezzanine surrounding it on the upper level.
The final sculpture had 12 motors that could be programmed for various sequences of 13 functions. They were all standard industrial motors with special gearing arrangements to get the speeds that Tinguely desired. Wheels spin, a rotating auger swirls, a wagon on a track rolls out and back, shapes revolve, cannonballs roll etc. Each of the 12 functions had a dedicated motor except for the “Clangers” which were activated by the Wheels Pivot function. It is interesting to note that Tinguely left no detailed plans or descriptions behind and certainly not a maintenance manual. He worked from a few hand drawn sketches but it was mostly constructed on the fly as he went along. There were immediate concerns in the community that this unique structure might not be safe and that there were no real guidelines of how to take care of it. William R. Thompson (Thompson Associates) was contracted to do an engineering analysis and a safety review. Noting the complexity and uniqueness of Chaos, Thompson declared that a full blown analysis of every possible combination of factors would take a total of 5461 years for separate influence analysis using hand calculations! Therefore Thompson proceeded with what he described as a practical review by intuition and engineering judgement combined with elementary statical checks of the most critical areas of concern. Thompson came up with a description of individual functions mostly centered around the individual motors driving each of those functions. He ran each function separately and in various combinations to determine their effect on other parts of the structure. His report also laid out a suggested course of action for periodic safety checks and maintenance. The following is a description of all 13 functions in the Thompson report and what I know about their present state. For the sake of consistency and documentation of maintenance, these naming conventions and descriptions have been maintained and used as well in the 2010 restoration.
#1. Wheels – a series of slow running, metal-clad, split-wood pulley wheels of different sizes connected by several pulley systems and drive belts (some appear to be Reeves split-wood pulley wheels but they are are believed to have been manufactured by Lewellen Manufacturing in Columbus). The wheels were originally intended to be able to run in the reverse direction as well but the Thompson engineering report recommended that it be modified to run in only one direction to keep the belts from slipping off as well as a potential misalignment/damage to the “clangers” function.
#2. Wheels Pivot – As the wheels are turning there is an approximately 30 degree pivotal up and down swing of the “wheels section” about a shaft in the vicinity of the wheels. The entire assembly lowers and then returns to the original position.
#3. Clangers – a clanging sound is generated by the periodic drop of 2 tubular hammers against an tubular steel anvil when the “Wheels Pivot” function reaches its down position (the rotating clanger arms would only function when the “Wheels Pivot” function is in operation). It was thought that the ends of the clangers were cut off sometime in the 90’s to reduce noise but the failure to operate appeared to actually be a misalignment of the elements. This is the only documented function not requiring its own motor.
#4. Balls – hollow steel “cannonballs” are raised to the top by a hay-lift elevator (modified from farming equipment) and then released onto a wire cage track allowing them to roll back to the bottom of the lift mechanism. There were originally 5 balls weighing between 6-8 lbs each and were fabricated from multiple pieces of steel welded together. As part of the restoration, the balls were inspected and some damage repaired with additional material added to bring them all to a weight of at least 7 lbs. It was decided to only keep 4 of the most reliable balls on the structure. This has been the function causing the most problems over the years even after the latest restoration. It has always been the most popular part of Chaos by the general public and many are disappointed that it seldom is operating.
#5. Yellow Doughnut – a 36″ hollow revolving doughnut shape, yellow on one side and orange on the other. During the restoration the element was cleaned and then repainted by local artist Jeri Cannon.
#6. Dull Triangle – a revolving triangular shape, dull blue on one side and unpolished aluminum on the other. As part of the restoration it was decided that it was hanging too low and posed a safety hazard to passersby. The revolving arm holding the element was shortened raising the height of the triangle by 4 inches. This element was also repainted by Jeri Canon.
#7. Stainless Diamond – a revolving stainless steel diamond shape, polished on one side and flat black on the other. During the restoration this element was removed and had to be re-fabricated due to structural problems.
#8. Small Disc – consists of a 24″ white aluminum disc that traces a path 10′ in diameter with a fin-like element attached to the other end as counterbalance. This element was repainted by Jeri Canon.
#9. Miscellaneous Twisters – various small items (a small doughnut, a triangle and an abstract boot-like shape) that twist by means of connected shafts and belts. The small doughnut is made of hollow steel and is white on one side and dark green on the other. The small steel triangle is made of steel, painted black on one side and yellow on the other. The abstract form is blue on one side and reddish black (with white under) on the other.
#10. Cart – a rolling multi-wheeled wagon on a track that goes out and comes back in, pulled along the track by a locomotive-style connecting rod with a 5 foot orange/red arm. There are 8 plastic wheels that allow it to roll smoothly along the track as well as 2 large decorative wheels in the front meant to be wobbly and rattling. Total transverse of the cart is 10 feet out and back. It features a very prominent BOOT! During the restoration, certain parts of the cart were repainted by Jeri Canon and the boot was cleaned to help preserve it.
The BOOT that sits on the rolling cart device has always been one of the most popular and pointed out items on the sculpture. There have been a number of different stories on how and why it got there. To the best of my knowledge this is the mostly correct version. The boot belonged to Robbins Electric foreman Rudy Knies. Whether it was a prank (some said he took off his boots during a lunchtime siesta and had one of them snatched away) or by his own intention, it wound up being temporarily placed on top of the tall spiraling auger and Tinguely left it there throughout the construction phase and then had it removed. After experiencing a series of mechanical problems, Tinguely came to believe that removing it had “jinxed” the sculpture and he had it put back on Chaos but this time onto the rolling cart where it has stayed. People who had been watching the progress of the construction had also noticed it missing and were asking what had happened to it.
#11. Cart Arm – an operation within the cart that has a plunger-like action when the cart is rolling with miscellaneous items attached to the end meant to resemble a head (bolts for eyes, wire and twine for hair, and a rubber nose). This has sometimes been called the “snipper” as it appears to be snippng the air as the cart rolls outward.
#12. Auger – a tall slender black steel auger that swirls with a counterclockwise, vertical twisting motion.
#13. Base Twist – the entire sculpture can rotate 70 degrees about a pin on the base. This function was eliminated in 1985 as it was felt that it was a danger to both the machine itself as well as those standing near it. It was considered as part of the restoration process to use this function only during carefully controlled exhibitions but apparently it will never be used again.
The Commons itself was not yet open in February of 1974 as Chaos was being installed. Residents and visitors were able to view the final installation from the already open Courthouse Mall shopping center and the partially open Commons mezzanine. Reactions varied from fascination, bewilderment, laughter and sometimes outright anger. Tinguely took great delight in hearing and seeing their reactions as opposed to the more studied and serious observations one might encounter in a gallery or museum. Many questioned whether it was actually a work of art and Tinguely would be quick to agree with them. He felt that even those who disliked Chaos would stand watching and be drawn deeper into the work. He did disagree with several “improvements” suggested by the results of the engineering analysis but usually was willing to compromise to get the work accepted.
Quote from Jean Tinguely on CHAOS, 1972:
“This machine should be able to have two faces. One way coexisting with the situation of the city mall and the other fighting against all and making noises, being fast, being very confusing and then…back to the quiet life of a good sculpture…A sculpture like Dr. Jekyll and Mr. Hyde.”
Tinguely’s assistants Josef Imhof and Paul Wiedmer stayed behind in Columbus to watch over the sculpture and to work out issues as they came up. Tinguely came back to Columbus a number of times to work out improvements, agree to changes and otherwise ensure that Chaos was operating properly. At one point Paul Wiedmer hid inside a large packing crate to watch the people watching the sculpture and gauge their reactions. He was filming from inside the box and other locations with a home movie camera but apparently none of the film was usable. It took at least a year after the final installation to work out all the bugs and to keep Chaos running reliably.
The sculpture has operated fairly reliably over the years but at some points different parts of Chaos and occasionally the entire thing had to be shut down temporarily to make repairs. A fairly consistent maintenance schedule has been maintained over the years to keep it functioning. The “old” Commons closed on New Years Eve 2007 and Chaos itself was left in place as the building was demolished around it. The Commons community space was rebuilt (minus the shopping mall) using the original steel superstructure from the Pelli building, but the sculpture remained in place during the demolition and rebuilding process protected in a large green climate-controlled enclosure. The loving protection was ironic to many since so much of it was scrap metal from the junkyard in the first place.
As the “old” Commons was torn away and the “new” Commons was nearing completion, Chaos was unwrapped and restoration efforts began in 2010. The intention was to return as many functions as possible to working order while presenting the sculpture in a state that while it may show its age it nonetheless shows that it was an important and well-cared for work of art. It was refurbished: cleaned, repaired and certain parts repainted without attempting to make it look new and brought up to more modern electrical control standards. Irwin Management donated $100,000 toward the restoration efforts with most work performed by Taylor Brothers Construction and their president David Doup overseeing the project. Art Conservator Richard McCoy was a consultant on the project researching the function of each piece of the sculpture. Tinguely left few detailed plans behind. McCoy and the restoration team relied upon a structural engineering report completed by William Thompson of Thompson and Associates in 1974, old newspaper articles, a stenciled numbering system on the sculpture itself and a 16mm film that had been all but forgotten. In 1974, the Commons Board of Directors had commissioned Minnesota filmmaker John Denney to produce a documentary film of Tinguely and Chaos during the design and assembly stage. The Indiana Arts Commission awarded a $1500 grant to help produce the film. Although the recovered film print was of fairly poor quality, it revealed many clues to the operation of the sculpture and thoughts into the design process. Both Jean Tinguely and Cesar Pelli were shown in the film discussing Chaos. No one has been able to find the filmmaker however or find any better or more complete prints of the film.
An effort was also made by the Purdue School of Technology in Columbus to document Chaos I and to create a detailed 3-D modelling of the various mechanisms. As of yet, the information has not been fully developed and released. This work was part of a program called EPICS (Engineering Products in Community Service).
The grand opening of the “New” Commons took place on Saturday, June 4th, 2011 and “Chaos I” once again came to life when 12 year old student Maria Fisher “flipped the switch” to start the sculpture. She won the honor as part of a local school essay competition.
The new control system for the refurbished Chaos in the present day Commons environment has the capability of operating as it previously did. The default programming in the current control system allows for all elements to be running around 12:00 pm and 6:00 pm with lesser operation of various elements throughout the rest of the day. That follows Tinguely’s “Jekyll and Hyde” idea that the sculpture’s day starts and ends quietly but builds to a noisy crescendo several times during that day. Chaos can be turned off completely by wireless remote control or custom programmed as needed. Unfortunately, maintenance costs have dictated a decision to run it less often and many in the community as well as our visitors are sometimes disappointed that they don’t get to see many of the features, particularly the rolling cannonballs. Although improvements were made to the reliability of the rolling balls, they will occasionally get stuck and have to be manually pushed back onto position on the track by a long pole. One of the videos in the Links section below shows Chris Crawl doing just this in the “old” Commons. Part of the restoration was a maintenance guide to enable Chaos to continue to operate well into the future.
Chaos in Columbus, Indiana is one of only two large-scale permanent Tinguely installations in the United States. The other is called “Cascade” and is in the Carillion building in Charlotte, N.C. At the time of its original installation, the director of the Indianapolis Museum of Art called Chaos I “the most significant piece of sculpture of the second half of the 20th Century.” Chaos is considered by many to be the best existing representation of Tinguely’s work and is expected to attract much more attention in the future. Many of us believe that it will continue to draw the art world to Columbus and be one of the top attractions in the Columbus Arts District.
Chaos I in the original Commons
(photo by Ricky Berkey)
Chaos I in the original Commons
(photo by Ricky Berkey)
Chaos I in the original Commons
(photo by Ricky Berkey)
Original Commons being torn down but Chaos remains in its big green box
(photo by Ricky Berkey)
Chaos remains safe as the new building starts construction around it
(photo by Ricky Berkey)
Chaos I in the “new” Commons
(photo by Ricky Berkey)
Chaos I in the “new” Commons
(photo by Ricky Berkey)
Chaos I seen from the mezzanine level
(photo by Ricky Berkey)
Wheels assembly
(photo by Ricky Berkey)
Wheels assembly
(photo by Ricky Berkey)
“Clangers”
(photo by Ricky Berkey)
“Clangers”
(photo by Ricky Berkey)
Auger rising into second level
(photo by Ricky Berkey)
Blue triangle and ball track
(photo by Ricky Berkey)
One of the balls rising to the top
(photo by Ricky Berkey)
“Yellow Doughnut”
(photo by Ricky Berkey)
“Stainless Diamond”
(photo by Ricky Berkey)
Cart assembly
(photo by Ricky Berkey)
Cart assembly
(photo by Ricky Berkey)
Underside of cart assembly track
(photo by Ricky Berkey)
Cart assembly with the Boot
(photo by Ricky Berkey)
Nameplate on base
(photo by Ricky Berkey)

(photo used pending permission – do not copy)

(photo used pending permission – do not copy)
Jean Tinguely was a Swiss sculptor and artist best known for his machine-like kinetic mechanical sculptures. His work was usually fabricated from everyday objects such as pieces of scrap or junk and was of a mechanical nature like machinery, but serving absolutely no purpose. Some of Tinguely’s works were designed to self-destruct and others were designed in such a way that predetermined a malfunction, culminating in an unpredictable finale.
Tinguely was born in Fribourg, Switzerland in 1925 as the only child of a chocolate factory worker. The family moved to Basel, Switzerland in 1928. He attended school in Basel but left in 1940 at the age of 15 to undertake an apprenticeship in window decorating for a department store. In 1941, he went to study at the School of Arts and Crafts in Basel, and was exposed to a number of artistic movements that inspired his early sculptures, such as Bauhaus, Futurism and Dadaism. Dadaism is considered to be his most prominent inspiration. He studied painting and sculpture, but early on he developed a great interest in movement as an artistic medium. He created his first kinetic art piece at the age of 12 and always felt that this was one of his best creations. It involved a series of waterwheels in a stream that interacted with other objects to make random, somewhat dissonant sounds.
Dadaism was an anarchic art movement which sought to do away with the cultural and political ideas that artists believed had been highly influenced by bourgeoisie society. Dadaist works were concerned with shaking up conventional understandings of what was considered beautiful. Artists often challenged what was aesthetically pleasing to audiences by adopting irrational techniques and nonsensical styles. Performances were designed to confuse and provoke their audiences, hoping that it would prompt them to question the aesthetic values and ‘norms’ they had inherited from society.
He moved to Paris in 1951 and began to construct his first large scale kinetic sculptures which he called “métaméchaniques” or “metamechanicals”, robot-like contraptions whose individual parts often moved or spun at varying speeds. Another type of project was his series called “machines à peindre” (“painting machines”) which continuously painted abstract patterns to the accompaniment of self-produced sounds sometimes accompanied by noxious odors!
He created the first of his infamous self-destroying structures in the early 60’s. His “Homage to New York” was a 27 foot sculpture intended to destroy itself but it had to be helped along by NYC fireman after it started a fire. He saw the concept of destruction as a means of achieving his goal of “de-materializing” art. Some saw his work posing questions about how society interacts with machines and technology challenging society’s relationship with material objects and the importance we place on them. His sculptures transcended the boundaries of ordinary performance art, replacing the man with machine. His work has been described as “cynical social commentary in a poetic way.”
In the ’70s he went on to create less aggressive and more whimsical kinetic constructions that combined aspects of the machine with those of found objects, or junk such as “Chaos I” which was the centerpiece of Cesar Pelli’s Commons building in Columbus, Indiana. He saw his work as a satire on the mindless overproduction of material goods. He also celebrated the machine and the beauty of objects discarded by our consumerist society. He once said he could see beauty in a well designed oil refinery or feel the mysticism in an electric motor. He once said “all machines are art.” He continued producing major projects and exhibitions well into the 80’s.
He was first married to Swiss artist Eva Aeppli in 1951 and later married artist Niki de Saint Phalle in 1961.
Tinguely died in 1991 in Switzerland, due to complications from a stroke at the age of 66. One of his sculptures called “Klamauk”, a drivable, tractor-like creation was actually part of his funeral procession on September 4th, 1991!
In 1996, a museum (“Museum Tinguely”) devoted to the works of Tinguely opened in Basel, Switzerland. A large variety of Tinguely’s working kinetic art sculptures are on permanent display, along with illustrations, photographs and other documents related to his life and work.
1960: “Homage to New York” – a 27 foot high machine intended to destroy itself at the Museum of Modern Art in NYC.
1961: “Hon” – a climbable, walk-in female sculpture created with his wife, Niki de Saint Phalle
1962: “Study for an End of the World No. 2” – a creation detonated in front of an audience gathered in the desert outside Las Vegas, Nevada.
1964: “Heureka” (a large sculpture created for The Swiss National Exhibition (“Expo 64”) in Lausanne, Switzerland), has been located in Zurich , Switzerland since 1967.
1974: “Chaos I” – kinetic “junk” sculpture created for The Commons in Columbus, Indiana.
1979: “Klamauk” – a drivable tractor-like sculpture which actually made an appearance in his funeral procession in 1991. Now in the Tinguely Museum in Basel, Switzerland.
1981: “La Fountaine” – a fountain sculpture in Paris, France.
1991: “Cascade” – in the Carillion Building in Charlotte, North Carolina.
1991: “Le Cyclop” (The Head): Fountainbleau Forest, France. This monstrous but whimsical sculpture took nearly 30 years to complete. 300 tons of industrial debris – metal, concrete, ceramic mosaic, stones – mirrors and a waterfall! He was periodically returning to France to work on this while working on Chaos in Columbus, Indiana.
“Talking Chaos” – Richard McCoy interviews Roland Wetzel of the Tinguely Museum in Basel, Switzerland
“Chaos No. 1” – Richard Denney film rediscovered by Chris Crawl
“Controlling Chaos” – Comical short film inside the old Commons with William Robert (film by Brian Presnell)
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
Columbus Regional Hospital (formerly Bartholomew County Hospital) was a typical hospital that had evolved haphazardly over the years from the original 1917 Italianate Style building beside the Haw Creek to a conglomeration of up to 20 additions accompanied by a series of confusing hallways. The goal was to make a more cohesive facility, expand to serve a greater share of an 11 county southeastern Indiana area and to be able to quickly adapt to new technologies in medical care. They also aimed to better meet the emotional needs of their patients as well as their families by providing a more comfortable and appealing, non-institutional setting.
The hospital being a public not-for-profit organization applied to the Cummins Foundation for funding of the design fees. The Cummins Foundation has supported innovative architecture in Columbus, Indiana since the late 1950’s by paying the design fees of high level architects for schools and other public buildings in Columbus. The foundation supplied a short list of architects to the hospital board and the hospital then selected Robert Stern from that selection list. Robert A.M. Stern was selected to establish a master plan that would meet current needs as well as plan for future expansion. They took the best of the existing buildings, added new construction as needed and merged old and new together in a very attractive exterior and interior package. His goal was to capture the hospitals traditional character in a structure capable of housing the newest medical technology. The planning process began in 1986 and construction started in 1990 with the majority of the new building completed in 1992. A 2nd phase was completed in 1996. Stern described the hospital organization that he worked with as “an imaginative client in a city that values architecture as few other cities do.”
Stern was best known for his residential designs and had never designed a hospital previously. The hospital wanted a non-institutional design that conveyed a home-like, perhaps even a hotel-like atmosphere. Stern worked in collaboration with the Falick/Klein Partnership of Houston, Texas to program the medical spaces. Falick/Klein specializes in the planning and design of health care facilities. Stern took inspiration from local Columbus landmarks such as the First Christian Church and the Irwin mansion for the exterior designs. The warm beige brick color was considered a complement to the First Christian Church as well as many other brick landmarks in Columbus. Sterns design (both exterior and interior) also references Frank Lloyd Wright’s Prairie style as well as Eliel Saarinen’s designs at Cranbrook
The redesign established a new entrance lobby re-orienting the main hospital entrance to the west from its original 17th Street entry. The plan allows for orderly future expansion on the 35-acre site and takes advantage of the natural setting adjacent to the Haw Creek and Lincoln Park. The tree-lined gateway off HawCreek Boulevard features a new bridge over the Haw Creek. There were also two separate medical office buildings on opposite sides of the entrance drive near Hawcreek Boulevard built in a very similar style to the main facility.
The exterior is beige brick and limestone with a green-tile roof. The roof pays homage to the original 1917 hospital structure which had a red tile roof and was unfortunately demolished as part of the reconstruction. It was felt that the cost of bringing the original facility up to modern standards would be cost prohibitive. The 6-story patient tower built in the 60’s was kept but greatly remodeled inside and out and two stories were added: a 7th floor for in-patient rehab and an 8th floor for the mechanical equipment.
The two new pavilion buildings with a courtyard in-between is an idea used in 18th and 19th century hospitals that allows maximum natural light into the buildings. The pavilion concept is a modular design that is easily adaptable to changing needs. The pavilions are concrete-frame structures organized into simple 24′ by 24′ modules that can accommodate a variety of interior layouts. An entire floor of the pavilion buildings can be shut down and reconfigured with minimal disruption to other operations. The buildings were built to house comprehensive cancer services and a birthing center with private birthing suites. Special areas on the ground floor are dedicated to outpatient services and surgery. A continuous double height gallery provides easy access to all parts of the hospital complex from the main lobby correcting circulation problems caused by the previous additions and remodeling.
The interior design, colors and furnishings were meant to maximize comfort and convenience while at the same time minimizing patient and family anxieties in what has been called a healing environment. The new main lobby consolidates patient admission, registration, visitor and public areas. The lobby was designed to create an open and welcoming space more like a hotel than a traditional healthcare facility. A connected glass-enclosed dining pavilion provides a pleasant atmosphere for relatives and visitors. Their unusually beautiful 180 seat cafeteria with outdoor seating also has developed a reputation for having very good food. Stern’s interior design references the Arts & Crafts Style, Frank Lloyd Wright’s Prairie Style and Eliel Saarinen’s designs at Cranbrook. There is extensive use of warm cherry woodwork throughout the lobby areas. Stern also designed the interior lighting fixtures, fabrics and textiles used. The desk at the main entrance is staffed by volunteers and offers concierge-like information services to visitors. In later years the hospital also began offering free valet parking to eliminate the need for visitors to have long treks from the parking areas.
The lobby area, especially the upper concourse level is decorated by hundreds of framed 20th century photographs, mostly color landscapes as they were especially wanting to avoid potentially depressing black and white images. The artwork was intended to provide some degree of distraction and entertainment for those waiting for their relatives and loved ones. Modern trends in healthcare focus on the healing properties of the arts. Among the featured photographers were Eliot Porter, Joel Meyerowitz and Joel Sternfield. Another later addition to the lobby was a bird aviary with a variety of colorful small birds to provide a pleasant distraction. There are several large aquariums which face into the hallway with the opposite side visible through the wall into patient waiting rooms. A small interdenominational chapel on the second floor was designed by Stern but is very much a homage to Frank Lloyd Wright offering a comforting quiet space to visitors. It has also been the scene for several small, intimate wedding ceremonies.
The 1st phase of the project was completed in 1992 when the Cancer Center, Birthing Center, Rehabilitation and Outpatient Services areas were completed. The main hospital continued to operate during the construction phase. Opening of Phase 1 also coincided with the formal name change from Bartholomew County Hospital to Columbus Regional Hospital. The new Dining Pavilion and Emergency Department were completed the following year. Phase 2 was completed by 1996 when the new Link Building and Radiology area was finished.
Overall, the finished product did not have a lot more space but it was organized more efficiently and was much more functional. The result was a combination of new construction, renovation, recladding and demolition. 200,000 square feet of existing structure was renovated, 200,000 square feet was new construction and 200,000 square feet were demolished. What had been a conglomeration of expansions was now a beautiful health campus with a unified architectural expression. The hospital currently has 225 patient rooms.
Construction costs were approximately $40 million with the cost per square foot comparable to average costs throughout the hospital industry. No tax dollars were spent in the new building construction. Existing hospital reserves were used along with an issuance of bonds based on anticipated increased revenues due to the expansion of services. As the hospital is owned by Bartholomew County, the cost of building and maintaining the new bridge at the entrance across Haw Creek was done at county expense as is the case with other county owned bridges.
FLOOD! On June 7th, 2008, Columbus experienced the worst flooding in local recorded history. The hospital experienced unexpected flooding which quickly flooded the basement and began to fill the first floor areas. 157 patients had to be evacuated from the patient tower and due to the fact that both power and emergency generation systems were in the basement, the patients had to be evacuated by hand. The flood caused the hospital to close its doors for the first time in the 97 year history of this hospital. Damages totaled over $180 million and destroyed critical functions: mechanical and electrical systems, laboratory, pharmacy, information services and food services.
As the hospital began the nearly 6 month rebuilding period, the hospital kept all employees on the payroll. Some helped with the cleanup, some were loaned out to other area medical facilities and community agencies and those affected by the flood in their own homes were allowed to take care of matters at home. Their rationale was that they needed to ensure that their valuable and trained workforce would be available when the hospital reopened. The hospital reopened on October 27, 2008, a month under their projected schedule.
Later flood protection added after re-opening was the construction of an elaborate floodwall system around the entire building. Floodgates have been installed at each of its pedestrian and vehicle entrances aimed at protecting the hospital from water reaching 2 feet higher than what would be projected during what is called a “100-year flood.” Much of the rebuilding costs came from insurance and FEMA funds but it also bit heavily into the hospital reserves that had been previously been allocated for an new expansion and remodeling plan. Those plans were delayed until resources could recover. Those expansion plans at the time included a new emergency department and a five-story pavilion with at least 60 new private patient rooms as part of a $108 million expansion. To commemorate the impact of the flood and their success in overcoming the devastation, a sculpture called “Halcyon” by Todd Frahm has been erected outside the dining pavilion. “Halycon” refers to a genus of birds in Greek mythology said to have the power to calm the waves. As an adjective, “Halycon” means peace. This Indiana limestone sculpture and fountain features a bird supported by a hand emerging from the water. The piece was dedicated to the staff, and volunteers who endured the devastating flood of 2008 and brought the hospital back to life.
Currently underway is a greatly changed version of that expansion plan. Changes were made due to the rapidly changing nature of the overall healthcare system. The new $30 million plan calls for an expansion of the emergency department and cancer center. The current emergency department was designed for a capacity of 25,000 patients a year, but it’s currently serving nearly twice that. An industry wide shift to greater reliance on out-patient care has minimized the need for additional in-patient rooms. All money for the current expansion came from the hospital’s cash reserves.
Entryway signpost
(photo by Ricky Berkey)
Hospital view across the Haw creek
(photo by Ricky Berkey)
Hospital view across the Haw creek
(photo by Ricky Berkey)
Hawcreek Drive entryway
(photo by Ricky Berkey)
Hospital main entrance
(photo by Ricky Berkey)
Main entrance
(photo by Ricky Berkey)
Main entrance and wide revolving door for wheelchairs and gurneys
(photo by Ricky Berkey)
Dining pavilion
(photo by Ricky Berkey)
Patient care pavilions
(photo by Ricky Berkey)
Patient care pavilions
(photo by Ricky Berkey)
Facing 17th Street
(photo by Ricky Berkey)
Facing 17th Street
(photo by Ricky Berkey)
Patient tower
(photo by Ricky Berkey)
Top of the patient tower
(photo by Ricky Berkey)
Emergency room entrance and lifeline helopad
(photo by Ricky Berkey)
Incoming reception desk
(photo by Ricky Berkey)
Main concourse
(photo by Ricky Berkey)
Main concourse
(photo by Ricky Berkey)
Lighting fixtures
(photo by Ricky Berkey)
Former phonebooth area
(photo by Ricky Berkey)
Chapel
(photo by Ricky Berkey)
Chapel
(photo by Ricky Berkey)
Floodwall system
(photo by Ricky Berkey)
“Halcyon” by Todd Frahm
(photo by Ricky Berkey)
Robert Stern was born in Brooklyn, New York as Robert Arthur Morton Stern on May 23rd, 1939. For most of his professional life he has been credited as Robert A.M. Stern. He received a bachelor degree from Columbia University in 1960 and a masters degree in architecture from Yale University in 1965. He has cited Vincent Scully and Phillip Johnson as early influences in his career.
Early in his career in 1964 while still a student, Stern worked a summer in the Washington, D.C. office of Perkins & Will. He was the program director for the Architectural League of New York from 1965-1966. He joined the office of architect Richard Meier as a designer in 1966. He established his own firm in 1969 as Robert A.M. Stern & John S. Hagmann, Architects with partner John Hagmann. Hagmann had been a fellow student with Stern at Yale. After Hagman left the partnership in 1976, the firm has been known as Robert A.M. Stern Architects.
In his early career he was considered a “Post-Modern” architect as he joined the trend of blending classical elements into modern buildings but he became increasingly eclectic as his career progressed. He may have been one of the first to use the term “post-modernism” to describe his work although he later described it as “Modern Traditionalism”. Stern has always argued that his designs are based on vernacular context and local traditions.
Over the years, he developed a reputation as writer and has authored several books on architecture and design. He has also had a long career in academia. Beginning as a lecturer (1970) and professor (1982), he became the director (1984) of the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University. He was a visiting professor at Yale in 1978 and later became the Dean of the Yale School Architecture (1998-present). He has lectured extensively in the United States and abroad on both historical and contemporary topics in architecture. He recently announced plans to retire from his position at Yale in 2016.
Stern has won many awards over the years including becoming a Fellow (FAIA) of the American Institute of Architects (AIA). He received the Medal of Honor Award (1984) and the Presidents Award (2001) from the New York Chapter of the AIA. He was inducted into the American Academy of Arts and Sciences in 2007. In 2008 he received the 10th Vincent Scully Prize from the National Building Museum. In 2011 he received the Driehaus Architecture Prize for his achievements in contemporary classical architecture.
1984: Point West Place (Framingham, Massachusetts)
1991: 222 Berkeley Street (Boston)
1992: Wheaton Town Square Shopping Center (Wheaton, Illinois)
1992: Columbus Regional Hospital (Columbus, Indiana)
1993: Norman Rockwell Museum (Stockbridge, Massachusetts)
2001: Federal Reserve Bank (Atlanta, Georgia)
2001: Nashville Public Library (Nashville, Tennessee)
2002: Hobby Center for the Performing Arts (Houston, Texas)
2005: Jacksonville Public Library (Jacksonville, Florida)
2006: Gerald R. Ford School of Public Policy at the University of Michigan (Ann Arbor, Michigan)
2007: Columbus Public Library (Columbus, Georgia)
2008: Lakewood Public Library (Lakewood, Ohio)
2008: 15 Central Park West (NYC)
2008: Comcast Center (Philadelphia, Pennsylvania)
2009: Mason School of Business at the College of William and Mary (Williamsburg, Virginia)
2013: George W. Bush Presidential Library at Southern Methodist University (Dallas, Texas)
2015: New Africa Center (NYC)
Original Bartholomew County Hospital built in 1917
(postcard image used pending permission)
Columbus Regional Health: Columbus Regional Hospital website
Columbus Regional Hospital featured on Robert Stern’s website
“Robert Stern Buildings”: This book features Columbus Regional Hospital
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v1.1.15)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
This is a permanent installation of public art commissioned especially for the rejuvenated library plaza and the new walkway/public space between the library and the Visitors Center. The sculpture was commissioned in October 2013 by the Columbus Area Arts Council (CAAC) and the Columbus Museum of Art and Design (CMAD). Funds for the commission came from private donations, especially from a special fundraiser during the 2012 and 2013 unCommon Cause galas which are an annual Arts Council fundraiser. The sculpture was intended to be a large free-standing work of art as a centerpiece in the landscaped walkway area between the Visitors center and the library. The landscaped brick walkway was enhanced with seating and features free outdoor wireless as well as electrical plugins for laptops or phone chargers. The space is meant to be a gathering space, a place to sit and relax as well as an enhanced portal between the two buildings.
Beach was selected for the commission because of his passion for stone as well as his local connections. Modern Totem is his first large scale work. His previous works have been small enough to be carried by hand. There are currently several of these smaller works on display at the Visitors Center. Many of his works are in private collections and he has numerous pieces available for sale. Beach is a young artist who is considered a rising star in the art world.
Beach chose the Native American totem as an inspiration. Totems have long been a symbol of identity, family, community and kinship which he felt was perfect for this location meant to be a community and visitor gathering space. A modernistic version of these totems, Beach feels that there is a living, breathing essence within the stone. As one walks around the asymmetrical shape, one sees and feels the expanding and contracting curves and the spiraling edges. It fits in well with the modernist architecture of the adjacent I.M. Pei designed library and Eliel Saarinen’s First Christian Church.
Modern Totem was fabricated using Mesabi Black Granite and Indiana Limestone. The granite came from the Coldspring Quarry in Babbit, Minnesota and was personally selected by the artist who brought 11,00 lbs. of stone back to Columbus driving through the ice and snow during a harsh Minnesota winter. The final sculpture stands at 9’2″ high, is 40″ wide and weighs nearly 8000 lbs. The work is in an obelisk form consisting of two stacked black granite stones sitting on a base of Indiana limestone representing a modern, minimalist interpretation of a totem. The two large masses are slightly curved and turned 15″ from each other connected by an hidden metal rod. He describes the vertical form as an “upward swirl of motion that forms a fluctuating visual energy”. The outer surface has a highly polished texture to contrast and complement the matte red texture of the nearby brick of the library. This was his largest work to date and one of his first works in a vertical plane. His earlier work was on much smaller scale and more horizontal in nature. This project required about 800 hours of his labor to complete.
The sculpture was installed on June 20, 2014 with the assistance of Taylor Brothers Construction. Modern Totem was dedicated on Friday, June 27, 2014 at 6:30 PM just prior to the evening “Live on the Plaza” concert in the adjacent Cleo Rogers Memorial Library plaza featuring the nationally acclaimed group “Black Violin”. Speakers at the dedication included Martin Beach, Karen Shrode (executive director of the Columbus Area Arts Council), Lynn Lucas (executive director of the Columbus Area Visitors Center), Beth Booth Poor (executive director of the Bartholomew County Public Library), and Brooke Hawkins (Columbus Museum of Art and Design). Installation of the work was considered a kick off for the Columbus Sculpture Biennial, a re-invigoration of a previous program bringing varying pieces of public art into Columbus on a temporary, rotating basis. “Modern Totem” however will be a permanent part of the Columbus Public Art landscape.
Facing the Visitors Center entry
(photo by Ricky Berkey)
Facing the Visitors Center
(photo by Ricky Berkey)
Facing the Visitors Center
(photo by Ricky Berkey)
Facing the library plaza
(photo by Ricky Berkey)
Facing the First Christian Church
(photo by Ricky Berkey)
Facing the Visitors Center
(photo by Ricky Berkey)
Facing the Visitors Center
(photo by Ricky Berkey)
Facing the library plaza
(photo by Ricky Berkey)
Facing the library
(photo by Ricky Berkey)
Facing the library
(photo by Ricky Berkey)
Facing the library plaza
(photo by Ricky Berkey)
Proposal drawing
(graphic used pending permission)
Proposal drawing
(graphic used pending permission)
Proposal drawing
(graphic used pending permission)
Martin Beach
Originally studying computer science and mathematics (his parents were both computer engineers), Beach switched to a visual arts program in his junior year of college. While he was still in college he was introduced to stone as an artistic medium and never looked back. Moving to Bloomington, Indiana to be closer to family, he also hoped to find employment working in stone in the limestone rich region of Indiana. Working as a studio assistant to Bloomington sculptor Dale Enochs, he learned and honed his own skills. Working full-time in landscaping to help fund his work, he began seriously working as a sculptor on his own. He is considered a rising star in the art world and his work has been featured in solo and group exhibitions around the midwest.
He has worked mostly on smaller scale pieces but rose to the Columbus, Indiana challenge for the much larger “Modern Totem” sculpture near the library plaza. He has been strongly influenced by Dale Enochs of Bloomington Indiana, Bob Leverich of Olympia, Washington and Verena Schwippert of Arlington, Washington. He cites other influences such as artists and architects Isamu Noguchi, Antoni Gaudí, Ludwig Mies van der Rohe, Dan Kiley, Roberto Burle Marx and Henry Moore.
His hope as an artist is to infuse a material that is generally seen as something inert and inanimate with a life force through minimalist form, embodying a very primal but refined elegance but still keeping it clearly recognizable as stone. He contrasts curves with line, rounded with pointed, light with dark, smooth with rough, etc.., until the stone develops its own personal identity. The main tools of his trade are hammers, chisels, grinders and polishers.
*Note: Martin has many projects piling up that he might be willing to part with for a small fee See his website listed below to get in touch with the artist. Many of the works below are pictured on his website:
2012: “Alter and Sacrifice”
2012: “Hills and Rivers”
2012: “Hopscotch with Dan Kiley” – in a private collection
2012: “Untitled Litomorph” – in a private collection
2012: “Lunar Colony van der Rohe” – in a private collection
2012: “Tribe” – in a private collection
2012: “Jupiter Probe”
2012: “UFO” – in a private collection
2012: “Dymaxion” – in a private collection
2013: “Slowly Flowing” – in a private collection
2013: “Sprint
2013: “Grazing Arch” – in a private collection
2013: “Vessel” – in a private collection
2013: “Nautical Manuever” – in a private collection
2013: “Tiered Horizons”
2013: “Brancusian Obelisk” – in a private collection
2014: “Modern Totem” – Columbus, Indiana library plaza
Modern Totem Blog on the Columbus Arts Council website>
Bartholomew County Public Library
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.24.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
Columbus Holiday OrnamentsAccess-Ability (formerly Easter Seals)
There is an annual release of a collectible holiday ornament featuring prominent Columbus buildings issued by Access-Ability (formerly Easter Seals) as a fundraiser. Access-Ability loans durable medical equipment (wheelchairs, hospital beds, shower seats and more) to any Bartholomew Co. resident. In addition they have partnered with several other organizations to help them produce ornaments for their fundraisers.
Issue date: 1995
(photo by Ricky Berkey)
Issue Date: 1996
(photo by Ricky Berkey)
Issue Date: 1997
(photo by Ricky Berkey)
Issue Date: 1998
(photo by Ricky Berkey)
Issue Date: 1999
(photo by Ricky Berkey)
Issue Date: 2000
(photo by Ricky Berkey)
Issue Date: 2001
(photo by Ricky Berkey)
Issue Date: 2002
(photo by Ricky Berkey)
Issue Date: 2003
(photo by Ricky Berkey)
Issue Date: 2004
(photo by Ricky Berkey)
Issue Date: 2005
(photo by Ricky Berkey)
Issue Date: 2006
(photo by Ricky Berkey)
Issue Date: 2007
(photo by Ricky Berkey)
Issue Date: 2008
(photo by Ricky Berkey)
Issue Date: 2009
(photo by Ricky Berkey)
Issue Date: 2010
(photo by Ricky Berkey)
Issue Date: 2011
(photo by Ricky Berkey)
Issue date: 2012
(photo by Ricky Berkey)
Done as a fundraiser by the Columbus Parks Foundation
Issue date: 2012
(photo by Ricky Berkey)
Issue date: 2013
(photo by Ricky Berkey)
Done as a Fundraiser by Columbus North High School
Issue date: 2013
(photo by Ricky Berkey)
Done as a fundraiser by Columbus East High School
Issue date: 2013
(photo used pending permission)
Done as a fundraiser by St Peters Lutheran School
Issue date: 2013
(photo by Ricky Berkey)
Issue date: 2014
(photo by Ricky Berkey)
Issue date: 2014/2015
Done as a fundraiser by the Columbus North Wrestling Team
(photo by Ricky Berkey)
Issue date: 2014/2015
Done as a fundraiser by the Columbus East Band
(photo by Ricky Berkey)
Design by Jim Ponsford, 2002
(photo by Ricky Berkey)
Issue date: 2014
(photo by Ricky Berkey)
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
St. Peter’s Lutheran Church goes back to the early days of Columbus history. This congregation was started in 1858 by 5 families from the even older St. Paul’s congregation on the outskirts of Columbus. A small wood frame structure at the corner of 5th and Sycamore was dedicated on July 22nd, 1858. A larger brick structure was built in 1871 and in 1904 an even larger building was constructed to serve 950 baptized members. During construction, the congregation held services at the nearby City Hall building at 5th and Franklin. The new structure was dedicated on June 19th, 1904. Despite the new sanctuary that was completed in 1988, this older 1904 building remained as part of the church complex until its removal in 2011 due to deteriorating conditions.
There has been a long history at St. Peter’s of providing a proper Lutheran education to their youth. A still standing 2-story 1941 building replaced the original 1887 school along 5th Street. Additional school space was added in 1950. Memorial Hall was completed in 1964 and was used as classrooms, gymnasium, kitchen and cafeteria as well providing space for church offices. These two buildings are still in use. With future expansion in mind, by 1979 they had acquired the entire 3 block area between 4th and 5th from Pearl to Chestnut Streets. Permission was received from the city to vacate their portion of Sycamore Street in the middle of the property whenever the future expansion plans were executed.
By 1983 with the total congregation numbering at more than 2600 members a decision was made to build a new sanctuary as the 1904 building had a capacity of only 500. It was during their 125th anniversary as a church that they engaged architect Gunnar Birkerts to begin designing their new building. Birkerts had earlier designed the Lincoln Elementary School across the street from the proposed site in 1967. It was hoped that he would create an equally pleasing structure for them and create a compatible environment along the 5th Street corridor. The church was sited to share a secondary axis with the center of the Lincoln School. The buildings form also reflects the multi-layered geometry of Lincoln. Birkerts was known for his innovative methods of bringing natural light into a building and there is no better example of this than the light filled interior of St. Peter’s.
Birkerts design was completed in 1988. The structure added another prominent landmark on the Columbus skyline with its 186-foot copper-clad spire. The spire is heavily influenced by the traditional church spire form found in Birkerts’ native Latvia. Although Birkerts’ said it was an unplanned coincidence, there is an amazing view of this church spire as you head towards downtown on State Street. The building is constructed of reinforced concrete, clad in brick and copper. A brick color was carefully chosen to be compatible with existing buildings along 5th Street such as Lincoln School and the library. Inside and out, the building features an interesting blend of flat and curved surfaces. Birkerts often liked to present buildings as a duality of opposites. Here we see the orthogonal and the curvilinear meeting suddenly in the geometry of the building. The back side of the building is very flat and linear, primarily concrete and bordering on brutilism. He calls this the masculine side and it presents its feminine side as you come around to the rounded brick portion of the building in the front. The front exterior is clad with brick with a series of windows beneath a copper fascia. The broken linear walls forming the south side are exposed and hammer finished structural concrete with brick banding. Birkerts’ view was that the irregular geometry of his design reflects the idea that sometimes nature’s imperfections are what inspire lasting humane architecture.
The roof is covered with an impermeable synthetic rubber with its cone overlaid with copper sheeting. Copper also overlays the ribs between the skylights, the bell sphere, and the spire. Supporting the roof and spire are steel I-beam trusses. The main girder which lies east to west is 109 feet long, 10 feet high and weighs in at 30 tons. The framework for the bell sphere and spire is made of high-strength aluminum beams. The spire was fabricated and copper-cladded on site, then positioned into place by crane. Now weathered into a natural patina, it was pure copper when first installed, reflecting the sun in sometimes blinding patterns. Braided 3/4 inch solid copper cables running from the aluminum framework of the spire to the steel roof girders and down the concrete walls to copper rods driven deep into the soil act as a lightning protection system..
The sanctuary interior is a blending of textured flat and curved white surfaces. Innovative natural as well as artificial lighting accents the interior. The white walls are set off by the textures provided by the maple furniture, maple doors and handrails, limestone and maple liturgical furnishings and a variety of other materials. Carpets are teal with teal and taupe wool seating fabric. All liturgical and interior furnishings were designed by Birkerts. Flooring was sealed concrete, carpeted in the open areas. The seating in non-concentric circles gives the feeling of a sanctuary within a sanctuary. Two off-axis circles create inner and outer sanctuary seating which allows the large worship space to be comfortably used for smaller gatherings as well as a full worship service. The worship space was designed to easily accommodate 1000 parishioners in the large rising open space without need for a formal balcony.
Windows on the north facing wall are long, narrow and deeply recessed in a unique pattern used as a design motif on the entrance doors and throughout the building. Dominating the south area of the sanctuary are massive fin walls with floor to ceiling windows allowing abundant natural light to enter the pulpit area.
Along the center aisle, directly beneath the spire, is a bronze plaque, inscribed with the May 1st, 1988 dedication date. Underneath lies a small vault containing a time capsule of special items and documents associated with the history of the congregation. This was the spot where the first construction stake was driven and from where all the initial measurements were taken. Other artifacts from the 1904 sanctuary were removed and incorporated into the new worship space including the organ, the bell, the oval marble altar top and the stained glass window of “Christ in Gethsemane.” Rising 186 feet above this spot on the finished floor is the copper spire topped by a cross. Underneath the cross is a small spherical time capsule. The larger sphere at the bottom houses the bell from the old sanctuary. Under the spire a skylight opens to the sanctuary featuring an 18-foot diameter light fixture that is also illuminated with spotlights reflecting light patterns from the intersecting planes of nickel mesh.
The chancel area is highlighted by a 12-foot high suspended maple cross which is illuminated by spotlighting. Underneath the cross is the altar made from two pieces of Indiana limestone, maple woodwork and the marble top from the 1904 sanctuary. The altar is in the center with the baptismal font to the north and the pulpit to the south. These three areas known as the “Three Means of Grace” are framed by a portable maple communion rail. An eternal candle burns on the back wall along with 7 elevated candles symbolizing the seven fruits of the Holy Spirit. A 24 channel sound amplification and video recording system occupies 2 large openings in the back wall. The interior of the sanctuary has many hard, sound-reflecting surfaces intentionally designed to create an acoustically alive space so that the organ, choral and instrumental music resounds to the fullest. Planters filled with greenery were placed high on the north and south walls.
Located in the upper level of the “outer sanctuary” is the Steiner-Reck pipe organ housed in a free-standing maple case. Designed by Gottfried Reck, the computerized organ fully incorporates the 1962 Holtkamp organ removed from the old sanctuary. This moderate-sized organ with a total of 66 ranks and 3,418 pipes contains an 8 foot polished brass horizontal trompete and 2 32-foot pedal stops. The 3 manual console features keys laminated with African benge (or wenge – a commercially-harvested, fine-grained, tropical hardwood from Zaire) and touch plate stops. Pipes in the organ are constructed of copper, zinc, tin and wood ranging from the size of a pencil to 18 feet in length. The upper area also provides seating for the choir, brass ensemble and handbell ensemble.
The narthex is a circular space as well to allow many people to be able to meet and interact before and after services. The narthex gathers people from the three entrances (from 5th Street, from the parking lot along 6th Street and from the interior hallway which connects the new sanctuary to the older parts of the church complex). Support areas leading from the narthex include restrooms, coat rooms, a cry room (equipped with a sound system and with windows looking into the sanctuary) and a bridal dressing room. The stained glass window of “Christ in Gethsemane” was mounted in the new narthex area. To get the children involved with the construction of their new church, it was decided to use their weekly chapel offerings to cover the cost. Maple cabinetry provides the setting for the window and also displays other historial church artifacts. Flooring in the narthex area is made of brick pavers laid in a decorative pattern extending from the central pillar. The church was designed in conjunction with a connecting wing of office and support space. This connector takes on the appearance of a cloister framing the green lawn space to the north.
Landscaping includes linden and river birch trees which dot the north side of the grounds with Bradford pear trees lining the south walkway. Groundbreaking for the church took place on June 22nd 1986 with the dedication and first worship service on May 1st, 1988.
In 2003 a major 57,00 square foot addition to the adjacent Lutheran school was added by local architect (and member of the congregation) David Force. As has been the tradition with this congregation they retained two older parts of the school which are still in use. The St. Peter’s Lutheran school is one of the largest in Indiana. The new school addition is connected to the rest of the school complex and sanctuary by an enclosed walkway. Force consulted with Birkerts to ensure a compatible design. David Force had become close friends with Gunnar Birkerts as his families firm, Force Construction, had been general contractor for the 1988 sanctuary construction. The same brick was used as in the 1988 construction to ensure a seamless addition. Exterior brick banding was repeated from the church continuing into the school lobby area. Interior spaces continue the primarily white walls and maple woodwork as seen in the church. Glass greenhouse areas are utilized to provide connectors between different portions of the church/school complex. A connection between the upper level of the church and the second floor of the school is accomplished by use of a glass bridge. The south facing façade is articulated with setbacks corresponding to the interior room arrangement allowing each major classroom to enjoy 2 window enclosures as well as providing an interesting exterior. The school addition was an opportunity to address accessibility issues as well as controlling access to the church and school. An elevator in the school addition lobby area serves the church as well as both new and older areas of the school building. Visitors should be advised that the main entry point to the church is now usually through the south facing school lobby allowing them to have better control over who enters the building while the children are in school. The highlight of the 2-story lobby is a large street style clock. The design of the new school also established a master plan for additions/upgrades to existing facilities to be carried out in a more consistent fashion.
In 2011 the former 1904 sanctuary was torn down due to its deteriorating condition. As many remaining elements as possible were retained to be used in future renovations/additions. The cross from the top of the 1904 sanctuary is now mounted on the lawn area where the old church once stood.
Front of church from 5th Street
(photo by Ricky Berkey)
Front of church from 5th Street
(photo by Ricky Berkey)
View from across 5th street on the other side of Lincoln school
(photo by Ricky Berkey)
View from 5th Street
(photo by Ricky Berkey)
Rear view, 2003 school addition on the right
(photo by Ricky Berkey)
Rear view
(photo by Ricky Berkey)
Rear view
(photo by Ricky Berkey)
Windows on front side, this pattern is repeated around the building
(photo by Ricky Berkey)
5th Street entrance, note the window pattern repeats
(photo by Ricky Berkey)
Entrance on 6th street side
(photo by Ricky Berkey)
5th Street Entrance
(photo by Ricky Berkey)
Tall slender windows bring natural light into the chancel area
(photo by Ricky Berkey)
View from the pulpit
(photo by Terri Boake…used pending permission)
Sanctuary view
(photo by Terri Boake…used pending permission)
Sanctuary
(photo by Mary Ann Sullivan…used pending permission)
Sanctuary
(photo by Mary Ann Sullivan…used pending permission)
Sanctuary
(photo by Mary Ann Sullivan…used pending permission)
School addition by David Force
(photo by Ricky Berkey)
Gunnar Birkerts sanctuary on the left, David Force school addition on the right
(photo by Ricky Berkey)
School addition by David Force
(photo by Ricky Berkey)
2 older school buildings on left are still in use, 1904 sanctuary on right now demolished
(photo by Ricky Berkey)
Cross on the lawn in foreground was from the top of the 1904 church demolished in 2011
(photo by Ricky Berkey)
Church spire, the lower ball contains the bell from the 1904 church, the ball just beneath the cross contains a time capsule
(photo by Ricky Berkey)
Landscaping
(photo by Ricky Berkey)
Lower level layout
(photo used pending permission)
Upper level floor plan
(photo used pending permission)
Aerial view
(Google map view used pending permission)
Gunnar Birkerts was born and raised in Latvia but fled ahead of the advancing Russian army toward the end of WW2. He graduated from the Technische Hochschule in Stuttgart, Germany in 1949 with a degree in architecture and engineering before coming to the United States.
Birkerts worked for Perkins and Will in Chicago from 1950-51 before joining Eero Saarinen in Bloomfield, Hills Michigan. He became lead designer for Minoru Yamasaki in 1955 before opening his own office in the Detroit suburbs as Birkerts and Staub in 1959 which became Gunnar Birkerts & Associates in 1963. Upon opening his own practice he said: “my apprenticeship was over. Now it was my turn to speak”. Over the years he developed a reputation as one of our foremost modernist architects. His many projects include museums, corporate headquarters and government buildings for clients in the United States, Europe, and South America. He is noted for his expressive forms emphasizing dynamic flow and illumination of space. He often used lighting as a design element:
“reflected, diffused or directionally washed over an enclosing plane…can give enormous richness to an otherwise simple, uninteresting space”.
Gunnar Birkerts & Associates received Honor Awards for its projects from the American Institute of Architects (AIA) in 1962, 1970, 1973, as well as numerous awards from the Michigan Society of Architects and the local chapter of the AIA. The 1970 award was for our Lincoln Elementary School which was built in 1967. Gunnar Birkerts was selected as a Fellow of the American Institute of Architects in 1970 and a Fellow of the Latvian Architect Association in 1971. He has received numerous other individual awards in Michigan, the United States and his native Latvia.
Birkerts joined the faculty at the University of Michigan College of Architecture in 1959 and taught until 1990. He has also taught at the University of Illinois and the University of Oklahoma.
Birkerts is still active as an architect and now maintains an architectural office in Wellesley, Massachusetts.
1966: Detroit Institute of Art, South Wing – Detroit, Michigan
1967: Lincoln Elementary School – Columbus, Indiana
1971: Detroit Institute of Art, North Wing – Detroit, Michigan
1972: Contemporary Arts Museum – Houston, Texas
1973: Marquette Plaza (formerly Federal Reserve Bank) – Minneapolis, Minnesota
1980: Corning Museum of Glass – Corning, New York
1986: Dominos World HQ – Ann Arbor, Michigan
1988: St. Peters Lutheran Church – Columbus, Indiana
1989: U.S. Embassy – Caracas, Venezuela
1994: Kemper Museum of Contemporary Art – Kansas City, Missouri
David Force grew up surrounded by buildings and construction. His families construction business, Force Construction was started in 1946 and has left a legacy of quality building in the Columbus area. Force Construction is a full-service general contractor.
Born and raised in Columbus, David has remained in his hometown to pursue his career and raise his family. After receiving a Masters degrees in both architecture and business at the University of Illinois he joined the family firm, Force Construction. He started his own design firm, Force Design as a part of the larger family business in 1977. Force Design offers a full range of architectural and engineering services. He became the Executive Vice President of Force Construction in 1981.
St. Peter’s Lutheran School (2003)
St. John’s White Creek Lutheran Church and School
Toyota Industrial Equipment Manufacturing
ArvinMeritor: Columbus Technical Center
Home Federal Bank: Washington Street Branch
This is the 2nd St. Peter’s Lutheran church building
(photo used pending permission)
This is the 3rd St. Peter’s Lutheran church building
(photo used pending permission)
Video tour of St. Peters on Utube: video by uTube user “wworldp”
3D Model of St. Peter’s Lutheran executed in Google Sketchup:
Gunnar Birkerts Architect Website
Gunnar Birkerts Archives (Bentley Historical Library)
Gunnar Birkerts Archives (Bentley Historical Library)
“The Architecture of Gunnar Birkerts” – book covering his career and projects from 1957-1989
“Gunnar Birkerts – – Metaphoric Modernist” – more recent (2009) book covering his career and projects
“Gunnar Birkerts: Buildings, Projects and Thoughts (1960-1985)” – book by Birkerts on his projects and design process (features a lot of his own drawings and models)
Force Design: David Force design firm
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
“Birds of Fire” is an abstract steel sculpture, painted bright orange, designed and fabricated by Ted Sitting Crow Garner. Garner was inspired by the music of John Mclaughlin and the Mahavishnu Orchestra, who were in turn inspired by the groups spiritual leader Sri Chinmoy. “Birds of Fire” was a song by the group based upon a Sri Chinmoy devotional poem addressing man’s striving for transcendence.
Garner takes great pride in combining the power and aesthetics of his American Indian heritage with modern techniques and materials using the depth of art history as a resource. Garner’s sculpture, which had previously been displayed in Chicago, was brought here as part of the Columbus Sculpture Invitational in 2006. Although it has been here since that time, it is actually still on temporary loan to the city and can be purchased from the sculptor for $25,000.
Originally located on the grounds of the former Senior Center, it was later given a much more visible spot on a corner in front of the Republic newspaper building. Much like the abstract sculptures in Chicago adjacent to several Mies van der Rohe buildings, this sculpture provides a perfect counterpoint to the Miesian glass box of the Republic newspaper building designed by Myron Goldsmith. Please join me in urging the owners of the Republic to consider making this a permanent addition to our city.

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

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(photo by Ricky Berkey)

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Ted Sitting Crow GarnerGarner is a artist and sculptor from Chicago. He was born in Seattle, Washington. As well as an artist he is also considered a master large sculpture installation specialist. His inspiration for his artistic work is combining the power and aesthetics of his American Indian heritage (he is a member of the Sioux tribe) with modern techniques and materials. He considers the entire output of art history as a resource.
He studied at the Kansas City Art Institute after working as an assistant to sculptors Jerry Peart, John Henry, and Mark di Suvero. His own sculpture has been exhibited widely and he has travelled extensively assisting other artists with large sculpture installations.
His fans were surprised in 2011 when he made several television appearances on the Jeopardy game show Tournament of Champions.
“Throne” (1995)
(for Dr. Martin Luther King, Jr.)
Originally in Atlanta, Georgia, now at the Nathan Manilow Sculpture Park – University Park, Illinois
“Birds of Fire” (1979)
Columbus, Indiana
“Tussle” (2010)
Fredrick Meijer Gardens and Sculpture Park – Grand Rapids, Michigan
“Hawk” (2010)
Garfield Park Conservatory – Chicago
“Eye of Newt” (1995)
Western Sculpture Park – St. Paul, Minnesota
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
“Transformations” is a large public sculpture meant to be an identifying signature landmark on the IUPUC (Indiana University – Purdue University at Columbus) campus. The sculpture is the centerpiece of the Reeves Sculpture Plaza. The plaza was made possible by a grant from the Carl M. and Mildred A. Reeves Foundation. This sculpture and plaza is meant to serve as a “front door” to the campus for the community as well as serving as a place for students, faculty and the public to rest and reflect. It is configured as a gathering place and seating area to create a welcoming environment for the entire community.
Created by artist Howard Meehan, the sculpture is nearly 30 feet tall and consists of a polished stainless steel ring with 3 pillars of reflective dichroic glass with interesting reflection patterns in the daylight and is illuminated at night. The main characteristic of dichroic glass is that it has a particular transmitted color and a completely different reflected color, as certain wavelengths of light either pass through or are reflected. It splits a beam of light into 2 beams with differing wavelengths. This causes an array of color to be displayed. The color shift depends upon on the angle of view. The ring which surrounds the glass oscillates with the wind and on some days it appears as if it will break at any moment. It was designed in close collaboration with a structural engineer.
The three lighted glass pillars are meant to symbolize the concepts of light, liberty, and learning. They also serve as a tribute to IUPUC’s collaboration with Indiana University, Purdue University and the people of Columbus. The sculpture is partially enclosed within an 8 foot berm of molded earth and an arched concrete surrounding wall with seating which features a quote by Benjamin Disraeli:
“A University Must be a Place of Light, of Liberty, and of Learning.”
Disraeli was a former British Prime Minister and literary figure.
Dedication of the sculpture was held on November 12, 2010 with artist Howard Meehan present. He seemed very pleased and proud of the results of his work.
Front of sculpture facing the Central Avenue IUPUC entrance
(photo by Ricky Berkey)
Front of sculpture facing the Central Avenue IUPUC entrance
(photo by Ricky Berkey)
Front of sculpture facing the Central Avenue IUPUC entrance
(photo by Ricky Berkey)
Stainless steel ring surrounding 3 pillars of reflective dichroic glass
(photo by Ricky Berkey)
Side view
(photo by Ricky Berkey)
Side view
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Side view
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Side view
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Rear of sculpture facing Central Avenue
(photo by Ricky Berkey)
Rear of sculpture facing Central Avenue
(photo by Ricky Berkey)
Rear of sculpture facing Central Avenue
(photo by Ricky Berkey)
View of the stainless steel ring from the concrete side wall
(photo by Ricky Berkey)
Quotation on the rear wall
(photo by Ricky Berkey)
Closeup of the support arm
(photo by Ricky Berkey)
Closeup of the stainless steel ring
(photo by Ricky Berkey)
Closeup of the stainless steel ring
(photo by Ricky Berkey)
Closeup of the stainless steel ring
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Night view
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Night view
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Artist Howard Meehan at the dedication
(photo from Columbus visitors Center…used pending permission)
Howard MeehanHoward Meehan is an artist from Santa Fe, New Mexico known for his public art projects. He has completed over 35 mixed-media public art projects nationwide. Many of his projects have incorporated history of the local area to encourage the local communities to relate to his work, identify with it and take ownership. His sculptures strive to communicate the spirit of the location.
Among other accomplishments of his career has been as a car designer in Detroit and as a product designer and manager for three fortune 500 companies. His industrial and product design work is exhibited in the Smithsonian National Design Museum’s permanent collection and in the permanent collection of the Museum of Modern Art in NYC. He has garnered 7 design and engineering patents.
1996: Palm Desert Community Walk
Civic Center Rose Garden – City of Palm Desert, California
90’ diameter gathering place: rose garden paths of mosaic, colored concrete, tile, rose poetry, seating; 30’ diameter steel and colored concrete shade sculpture.
1996: Mountain Top
Salt Lake City, Utah
Sand carved laminated glass skylights.
1997: Spirit
University of Oregon – Eugene, Oregon
Steel, laminated glass, dichroic glass, and fire.
1998: Fire & Ice
Grants, New Mexico
Steel, fire, and glass sculpture, 28’ high, with 30’ diameter plaza incorporating timeline of history and stories of the community.
1998: Individual Powers
Salem, Oregon
Precast concrete and glass mosaic seating sculpture with text inspired by idea of personal empowerment.
1999: Sullivant Plaza
Columbus, Ohio
10,000 square foot gathering place inspired by history of area includes: historical quotations, timeline, sculpture, artifacts, seating, lighting, landscaping, arbor fountain.
2001: The Zone
Southern Utah University – Cedar City, Utah
28’ high sculpture, corten steel and dichroic/laminated glass.
2002: Newton’s Corner
Colorado State University – Fort Collins, Colorado
40’ high stainless steel kinetic sculpture inspired by Sir Isaac Newton’s theory of gravity.
2002: Voices of the Sea
City of Huntington Beach, California
Entry sculpture and 3 plazas inspired by T. S. Eliot’s poetry about the sea.
2003: Sleuth
Forensic Science Sculpture – Albecurcue, New Mexico:
25’ high steel sculpture with 9’ dia, glass fingerprint. The slow moving shadow cast a shadow over the elusive quality of evidence.
2003: Balance
University of Gainesville – Gainsville, Florida.
28’ stainless steel kinetic sculpture with 3’ dia. dichroic/laminated glass. It reflects the joint health-related scientific and humanistic purposes of the facility.
2006: Gallup Courthouse Plaza
Gallup, New Mexico
Developed design concepts for the war memorial and the sun daggers in the main plaza.
2008: Circles in Time
Glendale, Arizona
Historic gas station and auto parts garage. Recreated the space focusing on the history of the site and the history of Glendale. Reconstituted the wheel rims, gas pumps and automotive parts existing at the site, reconfigured the landscape plan for public access and display.
2008: All for Want of a Horseshoe Nail
Frisco, Texas
Concrete horseshoe turn around with 30’ tall stainless steel horseshoe nail.
2010: Transformations
Indiana/Purdue University (IUPUC) – Columbus, Indiana
A place of light, liberty and learning. Mounded turf and concrete walls. Gathering space and seating area. Stainless steel sculpture with reflective dichroic glass.
Images of Transformations: slideshow presentation from Howard Meehan’s website
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
Irwin-Union Bank: Eastbrook Branch (now First Financial Bank)This was the first branch bank that Irwin-Union opened in Columbus outside of the downtown area in 1961. Located in a newly opened shopping center, everything about this branch was automobile scale, oriented around the drive-up windows located on the 4 original towers of the building. At ground level, the towers held the 3 drive-up banking windows and the night depository. The upper part of the towers were utilized to contain the HVAC units.
The site plan made this building a vary prominent detached part of the shopping plaza, facing the Haw Creek on one side and the shopping center on the other. Located parallel to Haw Creek it was the 3rd element in a triangle formed by the 2 bridges over 25th street and US 31 (National Road in Columbus). The arrangement was much more striking when the original steel truss bridges were in place. The site plan was meant to establish the “essence of drive-up banking in 3 dimensions.” Similar to what Robert Venturi started calling “billboard architecture”, these are structures which have a unique visual impact to the busy traffic flow passing by. The building appears massive from a side view but is actually very narrow when viewed from the ends. The gray-glazed brick coloration of the building reflected the concrete of the bridge structures and the towers recalled the piers of the original bridges. The site is completely surrounded by driveways from the parking lot so the bank can be approached from either end. A small dam was constructed in the adjacent creek to create a reflecting pool.
The 5,000 square foot split-level building was designed by Chicago architect Harry Weese who said the massive crenulated towers and reflecting pool were reminiscent of a childs vision of a castle. Others have said it resembles a steamship as it sits in parallel with the Haw Creek. As with a number of other Columbus buildings, a nickname emerged and is still widely used by many: the “Dead Horse”! Locals will often give out traffic directions in terms of turning left or right when you reach the “Dead Horse”, which is a prominent landmark on this busy corner. The building is constructed of reinforced concrete slabs, combined with brick bearing walls.
The building was designed to have a strong night presence with floodlighting on the building and a red-lighted sign on the bank of the creek which reflected off the creek and was visible from the bridge driving by. It appears that First Financial does not plan to continue this unique creekside signage.
The interior main banking floor was raised above the “sea of cars” in the parking lot upon a podium for better outlooks, visibility to the exterior and a sense of separation from the parking lot. This arrangement stepping up the the main bank level from the parking lot level caused problems later when retrofitting the building for improved handicap access. Interior walls used the same brick as the exterior with slate flooring
The bank opened for business on Sept 11, 1961 approximately a year after the first phase of the Eastbrook Shopping Center opened. It has continued to operate as a bank.
Thomas Beeby and Gary Ainge designed a seamless addition in 1996, upgrading the drive-up service to a more modern system needing less tellers. They used a similar brick and additional smaller towers to support an canopy over the new drive-up lanes and over the main entrance. Improvements were made in accessibility to meet modern ADA standards.
Historic flooding in 2008 submerged this bank as well as the entire shopping center across the parking lot. Irwin-Union immediately cleaned up and restored the building to service. With the demise of Irwin-Union Bank in 2009 the assets were acquired by First Financial Bank who continue to operate this branch.

(photo by Frank Scherschel from the Life photo archive – used pending permission)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

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(photo by Ricky Berkey)

(photo by Rick Drake used pending permission)

(photo by Rick Drake used pending permission)

(Google Maps image used pending permission)

(image used pending permission)
Harry Weese was born in the Chicago suburbs and went on to become one of the most influential of the Chicago architects. His work predominated in Chicago, in little Columbus, Indiana and around the world. His many projects ranging from high-rises and giant urban complexes to intimate residential designs remain as a testament to his genius.
Harry was a student of renowned Finnish architect Alvar Aalto at MIT. He also studied city planning at the Cranbrook Academy in Bloomfield Hills, Michigan where he met and became close friends of Charles Eames and Eero Saarinen. His life was greatly influenced by his brief time at Cranbrook and his later interior design work can be seen as a result. His association with Eero Saarinen led to many projects as Saarinen referred projects to Weese that he simply didn’t have time to take on. He also became a close friend of J. Irwin Miller which led to over a dozen small projects in Columbus, Indiana.
He was primarily considered a modernist but his work was always shaped by the needs and vision of his clients. As a result his designs were almost always unique without an identifying personal style. Weese’s approach to design was problem solving – each work intended to meet a specific need and to fulfill a particular function.
Early on he worked for Skidmore, Owings and Merrill (SOM) but felt stifled in the world of corporate architecture and started his own much smaller firm in 1947. He also became a fierce advocate of historic preservation and city planning. He had a lifelong interest in sailing and boat-building which was often reflected in his designs especially in some of his residential projects. Harry Weese & Associates won the coveted Firm of the Year Award in 1978. In 45 years they completed over 300 commissions with perhaps an equal number of unbuilt designs.
His luster was tarnished in later years as his drinking and personal problems put a sad footnote on what should have been a celebrated life. After numerous stints in rehab clinics and several strokes his wife Kitty and family had him committed to the Illinois Veterans Home where he died quietly in 1998. Recently his work has come back into focus as a number of articles and a new book has been released on his life and works. Much like the recent surge of interest in Eero Saarinen, the work of Harry Weese is finally getting the critical respect and admiration that it always deserved.
1957: Lillian C. Schmitt Elementary School – Columbus, Indiana
1958: United States Embassy Building – Accra, Ghana
1961: Northside Middle School – Columbus, Indiana
1963: Sterling Morton Library at the Morton Arboretum
1965: First Baptist Church – Columbus, Indiana
1966: Orchestra Hall Restoration – Chicago, Illinois
1966: IBM Building – Milwaukee, Wisconsin
1966: Tangeman House – Muskoka Lakes, Ontario, Canada
1967: Auditorium Theatre Restoration – Chicago, Illinois
1968: Seventeenth Church of Christ, Scientist – Chicago, Illinois
1969: Marcus Center for the Performing Arts – Milwaukee, Wisconsin
1969: Shadowcliff House – Ellison Bay, Wisconsin
1970: Time-Life Building: Chicago, Illinois
1970: Formica Building – Cincinnati, Ohio
1972: Arena Stage – Washington, D.C.
1973: Crown Center Hotel – Kansas City, Missouri
1975: Mercantile Bank – Kansas City, Missouri
1975: Oak Park Village Hall – Oak Park, Illinois
1975: Metropolitan Correctional Center – Chicago, Illinois
1976: Willow Street Townhouses – Chicago, Illinois
1976: Metro System – Washington D.C.
1981: Fulton House Condominium Conversion – Chicago, Illinois
1982: United States Embassy Housing – Tokyo, Japan
1984: Miami-Dade County Transit System – Dade County, Florida
1988: River Cottages – Chicago, Illinois
1988: Union Station Restoration – Washington, DC
Thomas H. Beeby has been the Director of Design and lead designer for HBRA, a Chicago based architectural firm (formerly Hammond, Beeby and Babka, Inc) since it’s founding. He was recently named as chairmen emeritus at HBRA.
After studying architecture at Cornell and Yale, Beeby took his first job with C. F. Murphy & Associates from 1965-1971. He was a founding member of Hammond Beeby & Associates in 1971. Beeby was a member of the “Chicago 7”, a collection of Chicago architects who participated in a number of Chicago exhibitions and symposiums in the 70’s and 80’s meant to encourage creative thought and dialogue amongst architects.
Mr. Beeby was an Associate Professor at the Illinois Institute of Technology (IIT) from 1978 to 1980. He was the director of the Architecture school at the University of Illinois from 1980-1985. He was dean of the Yale University School of Architecture from 1985-1992 and remains as an Adjunct Professor of Architecture there. He continues to lecture on architecture at many schools of architecture around the country.
He has also served on many boards and commissions related to architecture in the Chicago area and around the country. He has won many awards for his design work. His projects have included museums and libraries, university projects, theatres and performing arts centers, office and retail buildings, religious buildings and residential work. In Columbus he was also involved with the 1996 renovation of the Eastbrook branch of the Irwin-Union Bank and the 2001 renovation/addition of St Paul’s Episcopal Church.
Originally at the architecture firm of Tigerman Fugman McCurry, Ainge joined HBRA in 1984. He has assisted on many HBRA projects as well as being principal design architect on others. He has been a partner in the firm since 1988. He has lectured and participated in symposiums and juries at a number of institutions.
In Columbus he was a partner with Thomas Beeby in the design of the Breeden Real Estate building as well as the 1996 renovation of the Eastbrook branch of Irwin-Union Bank.
The firm was founded in 1961 by James Wright Hammond, who conceived the practice as an opportunity to collaborate closely with his clients through all phases of the design and construction process. Thomas Beeby joined the firm in 1971, later joined by partners Dennis Rupert and Gary Ainge. Originally known as Hammond Beeby Babka and later Hammond Beeby Rupert Ainge , they are now simply HBRA. The company is currently led by Aric Lasher who joined the firm in 1985. HBRA has maintained their offices in Chicago since their founding.
Irwin-Union Bank: Eastbrook Plaza Branch: 3D model executed in Goggle Sketchup
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
Irwin-Union Bank (former State and Mapleton Branch)This is another Columbus building with an uncertain future. Although it’s not a major landmark of architecture, it is important in the overall context of Columbus development and a nice example of a number of works designed here by Paul Kennon. As a bank, it was downgraded to a drive-in center after Irwin-Union built the Creekview branch in the Kohls/Walmart plaza. With the demise of Irwin-Union Bank, the building was acquired by First Financial Bank who then sold it to a local trucking company. They did some cleanup and refurbishment of the building but they currently have it up for sale.
This bank was a replacement for an earlier Irwin-Union branch right across the street built in 1961. The 4,000 square foot building provided more room for increased customer traffic, expanding banking services as well as providing a better traffic flow for the drive-up facilities. The site of this new branch was formerly home to the East Side Equipment Company, the East Columbus Independent Fire Department and the Garrison open-air fruit market.
Paul Kennon designed a narrow two-story brick and masonry building featuring an enclosed lobby with glass on three sides. Kennon’s intent was to provide a dramatic, modern and functional building that would be an asset to what has sometimes been considered an impoverished and underdeveloped part of Columbus. His tall open glass lobby was meant to reflect the openness in banking that had been a tradition of Irwin-Union Bank ever since their groundbreaking 1954 Saarinen building. His tall elongated brick and glass design resembles the Kevin Roche addition to the downtown bank. It establishes a strong visual reference along State Street, contributing to the urban landscape of the area.
Brick was chosen for the building to complement the former State Street School (now a county government annex ) and the former Irwin-Union Bank and shopping center across the street. The building is built around two very tall parallel brick walls approximately 12 feet apart. A glass superstructure with a greenhouse effect emerges from the north wall for the lobby area with a 5-lane pneumatic drive-up banking system coming out of the south wall. Central offices and banking services are sandwiched between the walls.
Bright colors, brick, glass and natural wood make up the sleek interior design with furniture by Herman Miller. The 6 glass and steel teller units inside were designed by Kennon especially for the building. They were meant to minimize the visual separation between customer and and teller yet still provide the required security. The stainless steel and glass cabinetry and the high dividers between each teller stations provided physical and acoustic privacy for bank customers. In the central portion of the building between the the lobby and the drive-in service areas are spaces for safe deposit boxes, the vault, office areas and a terrace. The upper level of the building was used for storage, an employee lounge and mechanical equipment.
The drive-up lanes were provided underneath a steel Unistrut space frame with bronze plexiglass skylights over the customer service areas. The bubble dome skylights reflecting back (as did skylight domes on the the Weese Bank across the street) to the domes over the Saarinen building downtown. Parking was provided for 35 cars. The site was nicely landscaped by Dan Kiley with a tree-lined parking area and a mini-park. A dramatic lighting system made the bank a part of the Columbus “nightscape” whereby many buildings can be seen from a different perspective in the evening. The building served its first customers in early 1975.

(photo by Ricky Berkey)

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Paul Atherton Kennon designed projects around the world including 4 here in Columbus, Indiana. He will long be remembered here for his efforts to gather input from as many people as possible before formulating his designs. In Columbus, Paul Kennon is especially remembered for his “Squatter’s Sessions” – a participative process where he gathered input and ideas from the community. He said: “if people just talk about their dreams, anything can happen”. His son Kevin followed in his fathers footsteps and has proudly designed a building in Columbus as well.
Kennon had a desire to become an architect from an early age and graduated from Texas A&M in 1956. While at Texas A&M he worked a summer job with Caudill, Rowlett and Scott developing a close relationship with William W. Caudill. After completing his graduate work at the Cranbrook Academy he was hired as a designer by Eero Saarinen from 1957-1964. With Saarinen he helped develop the plans for the Dulles International Airport in Washington D.C. Kennon worked with the Saarinen team to complete work on the North Christian Church project in Columbus after Eero Saarinen died.
His mentor, William W. Caudill (who was Director of the Rice University School of Architecture) persuaded Kennon to come back to Texas in 1964 to become an Associate Director at Rice. In 1967 he resumed practicing architecture in 1967 with Caudill, Rowlett, Scott (CRS) where he became design principal in 1970 and president in 1976. His approach to teaching which he attributed to Caudill and Saarinen was to teach by example rather than theory. His design process involved a team process seeking the best solution utilizing the ideas of many participants to patiently seek the best solution to each project.
He continued his academic career by lecturing and teaching at many universities, including Rice University, Texas A&M, the University of Texas, Texas Tech, the University of Houston, Yale, Harvard, Pratt, Amherst, the University of Pennsylvania, and the Institute for Architecture and Urban Studies. In 1989 Kennon was selected to be the new Dean of the School of Architecture at Rice University.
He died of a heart attack in 1990 at the age of 55. Besides his new position at Rice University, he was still an active architect for CRSS. At the time of his death Kennon was actively working on a number of Columbus, Indiana projects: the revitalization of Mill Race Park, a never built golf course west of downtown, the Front Door project and the downtown Streetscape plan.
Paul Kennon recieved more than 100 awards for his designs, including honors from the American Institute of Architects and others. 12 of his awards were for projects in Columbus, Indiana.
1973: Fodrea Community School – Columbus, Indiana)
1974: Irwin Union Bank (State Street Branch) – Columbus, Indiana
1978: Indiana Bell/SBC/AT&T/ Switching Center – Columbus, Indiana
1983: University of Iowa Arena
1985: 3M/Austin Center (3M Regional HQ) – Austin, Texas
1990: Streetscape Downtown Beautification Plan – Columbus, Indiana
1991: Chrysler Technology Center – Auburn Hills, Michigan
Jay Bauer was an architect with the firm Caudill Rowlett Scott from 1972-1992. While with CRS he worked with Paul Kennon on several Columbus, Indiana projects including the ATT Switching station and the Irwin-Union Bank: State Street Branch. He now heads his own firm, Bauer Architects (formerly Bauer and Wiley Architects).
Caudill Rowlett Scott (popularly known as CRS) was an architecture firm in Houston, Texas that was started in 1946 by William Caudill and John Rowlett who were professors at the Texas A&M School of Architecture. Wallie Scott, who was a student of Caudill joined the firm in 1948 and Tom Bullock was added as a partner in 1948.
They were initially involved in the building of many schools around the world addressing the shortage of classrooms brought on by the post-WW2 babyboom. As educators as well as architects. Caudill and Scott brought about many innovations in school design.
Over the following decades CRS diversified it’s portfolio grew into one of the largest architectural firms in the country with projects around the world. This greatly diversified the company with CRSS able to provide architectural, engineering, construction management, environmental and financial services to governmental and private sector clients around the world. They also became one of the largest private producers of power in the United States. CRS Capital was a part of the firm focusing on other businesses related to architecture and industrial engineering. In 1983 CRS joined forced with J.E. Sirrine, an industrial engineering firm and became CRS-Sirrine. By 1985, CRS Sirrine (CRSS) had grown to become one of the biggest U.S. architectural design firms, the biggest U.S. construction management company, and the biggest interior architecture designer.
CRS was awarded The AIA (American Institute of Architects) Firm Award in 1972. In 2005, CRSS was named named “Firm of the Century” by Texas A&M University College of Architecture (which is housed in the CRS Center).
In 1994, the company was split with the engineering component acquired by Jacobs Engineering while the architecture group merged into Hellmuth, Obata and Kassabaum (HOK).

(photo used pending permission)
CRS – “CRS: a Firm and it’s Legacy”
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com
(v12.14.14)
This article spotlights a particular building or some other aspect of Columbus design. I welcome your comments, corrections and additions. Please share your experience and perceptions of these uniquely Columbus projects.
Irwin-Union Bank (original State Street Branch and Shopping Center)This is one of a number of Columbus buildings designed by notable architects that has been almost forgotten. Harry Weese, architect of the National Historic Landmark First Baptist church was so prolific in his early days in Columbus that many of his buildings have been modified, re-purposed or just plain unappreciated. Most people are unaware that this former bank branch and accompanying shopping center was one of his many commercial projects in Columbus. It is a simple yet still elegant example of his modernist design work.
In the late 50’s and early 60’s in Columbus and elsewhere, shopping patterns were changing. New shopping centers were opening up in neighborhoods set away from the traditional downtown areas. Shoppers were drawn to the sleek, modern designs of the new centers as well as the acres of adjacent free parking. Merchants from downtown areas began to move or open second stores in the new shopping plaza’s eager to embrace the trend. Banks as well were opening branch banking centers in the new centers, usually small free-standing buildings in a conspicuous part of the parking lot. Irwin-Union Bank already well-known for their innovative downtown building designed by Eero Saarinen, began using prominent architects to design small yet unique free-standing bank branches in the new centers.
In 1961, Irwin-Union Bank opened two new bank branches, one in the Eastbrook Plaza Shopping Center and the one described here, both designed by Chicago architect Harry Weese. This location on the corner of State Street and Mapleton was in the part of town formerly known as East Columbus, annexed by the city of Columbus in 1950. Accompanying this bank branch was a small shopping center also designed by Weese. Landscaping on the small property was designed by Weese and his firm, Harry Weese & Associates. The space where the bank and shopping center now stands had been the site of the former Columbus Process Company whose plant had been destroyed in a fire.
The brick banking building contains 1,800 square feet of floor space and originally had 2 drive-up windows along the east side of the building and a night depository. Bricks were maroon black mortar and the interior floors were brown quarry tile with black mortar joints. The original interior ceiling was an exposed plank roof. Perhaps echoing the Saarinen building downtown, the roof contains a number of white bubble domes used as skylights. The curved-line exterior and interior brick walls can be seen in a more refined and more dramatic effect in the gently curving walls of First Baptist Church which Weese designed several years later. Interior furniture in the bank included Steelcase desks with white formica tops. The bank opened for business on Dec 6th, 1961.
The shopping center which opened a few months later in 1962 had space set aside for a grocery, a drug store and perhaps 3 smaller shops. Developers hoped that it would help to revitalize the commercial district on the east side of Columbus. Like the bank building, it features gently curving brick walls and an 8 foot overhang over the sidewalk giving it an arcade effect. Trees were planted along State Street with plantings in and around the parking areas. When the center opened it contained a Jay C Supermarket and a Hook’s Drug Store. Hook’s was a longtime Indiana drugstore chain which was later taken over by Revco and then CVS which still maintains a store in the center. Space was set aside on the lot between the bank and the shopping center for 100 cars with another small parcel behind the buildings for employee parking.
Over time the bank branch proved to be too small and a new bank (designed by Paul Kennon) opened across the street in 1974. The original building became a flower shop in the mid-70’s called “Flowers from the Woods.” Woods referred to the Wood’s family who were the original owners. The business is now owned by Naomi Fleetwood-Pyle. The interior still retains the basic character of its life as a bank. The vault has been re-purposed as a walk-in cooler for plants.
The shopping center is still occupied and filling a role described by original contractor Harry Mundt as a “neighborhood convenience center” with drug store and dollar store in the stripmall building. It gets a lot of pedestrian traffic from the nearby neighborhood as well as automotive customers. I find it especially attractive because it retains the clean lines of its original modernist look, unlike most strip centers of the era that have been given false post-modern facades.
Unfortunately the relocated branch bank across the street is standing empty and is currently for sale. It is hoped that one of the newer banks that have flourished with the demise of Irwin-Union Bank will take interest and open an east side branch along State Street. First Financial currently owns the Paul Kennon designed building but considers the Creekview branch in the Kohls/Walmart shopping area to be its east side location. Irwin-Union was only using this as a drive-through location when they were still in business after they built the Creekview Branch. State Street is the traditional heart of the east Columbus business district and is sorely in need of economic revitalization.

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)
Note the skylight domes on top of building
(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo by Ricky Berkey)

(photo from the Republic newspaper…used pending permission)

(image from Google Maps…used pending permission)
Harry Weese was born in the Chicago suburbs and went on to become one of the most influential of the Chicago architects. His work predominated in Chicago, in little Columbus, Indiana and around the world. His many projects ranging from high-rises and giant urban complexes to intimate residential designs remain as a testament to his genius.
Harry was a student of renowned Finnish architect Alvar Aalto at MIT. He also studied city planning at the Cranbrook Academy in Bloomfield Hills, Michigan where he met and became close friends of Charles Eames and Eero Saarinen. His life was greatly influenced by his brief time at Cranbrook and his later interior design work can be seen as a result. His association with Eero Saarinen led to many projects as Saarinen referred projects to Weese that he simply didn’t have time to take on. He also became a close friend of J. Irwin Miller which led to over a dozen small projects in Columbus, Indiana.
He was primarily considered a modernist but his work was always shaped by the needs and vision of his clients. As a result his designs were almost always unique without an identifying personal style. Weese’s approach to design was problem solving – each work intended to meet a specific need and to fulfill a particular function.
Early on he worked for Skidmore, Owings and Merrill (SOM) but felt stifled in the world of corporate architecture and started his own much smaller firm in 1947. He also became a fierce advocate of historic preservation and city planning. He had a lifelong interest in sailing and boat-building which was often reflected in his designs especially in some of his residential projects. Harry Weese & Associates won the coveted Firm of the Year Award in 1978. In 45 years they completed over 300 commissions with perhaps an equal number of unbuilt designs.
His luster was tarnished in later years as his drinking and personal problems put a sad footnote on what should have been a celebrated life. After numerous stints in rehab clinics and several strokes his wife Kitty and family had him committed to the Illinois Veterans Home where he died quietly in 1998. Recently his work has come back into focus as a number of articles and a new book has been released on his life and works. Much like the recent surge of interest in Eero Saarinen, the work of Harry Weese is finally getting the critical respect and admiration that it always deserved.
1957: Lillian C. Schmitt Elementary School – Columbus, Indiana
1958: United States Embassy Building – Accra, Ghana
1961: Northside Middle School – Columbus, Indiana
1963: Sterling Morton Library at the Morton Arboretum
1965: First Baptist Church – Columbus, Indiana
1966: Orchestra Hall Restoration – Chicago, Illinois
1966: IBM Building – Milwaukee, Wisconsin
1966: Tangeman House – Muskoka Lakes, Ontario, Canada
1967: Auditorium Theatre Restoration – Chicago, Illinois
1968: Seventeenth Church of Christ, Scientist – Chicago, Illinois
1969: Marcus Center for the Performing Arts – Milwaukee, Wisconsin
1969: Shadowcliff House – Ellison Bay, Wisconsin
1970: Time-Life Building: Chicago, Illinois
1970: Formica Building – Cincinnati, Ohio
1972: Arena Stage – Washington, D.C.
1973: Crown Center Hotel – Kansas City, Missouri
1975: Mercantile Bank – Kansas City, Missouri
1975: Oak Park Village Hall – Oak Park, Illinois
1975: Metropolitan Correctional Center – Chicago, Illinois
1976: Willow Street Townhouses – Chicago, Illinois
1976: Metro System – Washington D.C.
1981: Fulton House Condominium Conversion – Chicago, Illinois
1982: United States Embassy Housing – Tokyo, Japan
1984: Miami-Dade County Transit System – Dade County, Florida
1988: River Cottages – Chicago, Illinois
1988: Union Station Restoration – Washington, DC
“Reconstructing Harry Weese”: fascinating recent article about his life and career
“Harry Weese: A Man of Many Words and Works (1915-1998)” – a career retrospective from Inland Architect magazine.
The Architecture of Harry Weese: Robert Bruegmann and Kathleen Murphy Skolnik (recently published career retrospective)
Harry Weese Interview: part of the Chicago Architects Oral History Project
Harry Weese Houses: Kitty Baldwin Weese (This book was written by Harry’s wife as a tribute for his 70th birthday – it illustrates 38 of his 82 residential designs).
City of Columbus: official City of Columbus website
Columbus Indiana Architectural Archives
Columbus Indiana Architecture Digital Archives: A small portion of the Columbus Indiana Architectural Archives available online from the IUPUI digital library
3D Models of Columbus Architecture Executed in Google SketchUp:
The Republic Newspaper – Columbus, Indiana newspaper
Bartholomew County Public Library
Historic Columbus Website – David Sechrest’s tribute to Columbus History
Historic Columbus Message Board – a companion interactive forum to the David Sechrest historical website
Bartholomew County Historical Society
Click HERE for a Calendar of Upcoming Events in the Columbus Area.
Click HERE for information about Tours of Columbus Architecture and Design including the Miller House.
Email me: rickyberkey@gmail.com