PATTERN Magazine Issue 5 SPRING 2014

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ILLUSTRATION / STEWART FORREST

DESIGN / JOSHUA COOK

MODELS / LAUREN + KATE (BMG MODELS)

MAKEUP / KATE SHAW (FACES BY KATHY MOBERLY)

HAIR / ADRIANNA ZARAGOZA (FRENCH PHARMACIE)

STYLING / SAVANNAH NORRIS

PHOTOGRAPHY / STEPHEN SIMONETTO

JACKET / AT THE TOGGERY NECKLACE / EMILY BUDD

DRESS / TOGGERY SOCKS / BRADY SHOES / MODEL'S OWN

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ILLUSTRATION BY ANDY FRY & EMILY WATKINS, BIG CAR

ILLUSTRATION BY AARON SCAMIHORN, RONLEWHORN INDUSTRIES

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ILLUSTRATION BY BOB EWING, BOB EWING DESIGN

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AT 1 8 0 M P H , T H E S H I N K A N S E N , J A PA N ’ S F U T U R I S T I C

H I G H - S P E E D T R A I N , TA K E S A B O U T T W O A N D A H A L F

H O U R S T O G O F R O M T O K Y O T O O S A K A — A D I S TA N C E

T H AT W O U L D TA K E 1 2 D AY S T O WA L K , I F WA L K I N G

WA S Y O U R 9-T O - 5 J O B . I F I T WA S A B L E T O M O V E AT

T O P S P E E D, W I T H O U T S T O P P I N G F O R PA S S E N G E R S O R

S LOW I N G F O R CU RV E S , T H E T I M E WO U L D S H O RT E N

B Y AT L E A S T A N H O U R .

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AT 1 8 0 M P H , M T. F U J I A P P E A R S … A N D D I S A P P E A R S B E F O R E Y O U C A N J U M P U P

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F R O M Y O U R S E AT T O L E A N A C R O S S T H E A I S L E A N D L O O K T H R O U G H A S A M E - S I D E W I N D O W.

AT 1 8 0 M P H , Y O U C A N S E E T H E FA C E S O F PA S S E N G E R S O N A PA R A L L E L T R A I N , W H O C A N A L S O S E E N OT H I N G I N F O C U S B U T YO U.

AT 1 8 0 M P H O N A H I G H - S P E E D T R A I N , Y O U C A N F E E L T H E C A R L I F T A S Y O U C O M E O V E R T H E T O P O F A R I S E A S I F T H E T R A I N WA S D E S I G N E D T O H AV E W I N G S B U T T H E Y ’ V E S O M E H O W G O N E M I S S I N G .

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AT 1 8 0 M P H , T H E I M A G E S Y O U TA K E F R O M A T R A I N A R E A P E R F E C T M E TA P H O R F O R W H AT Y O U S E E I N T H E R E S T

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O F Y O U R T R AV E L S —T H E O D D LY A E S T H E T I C B L E N D O F T E C H N O L O G Y, A G E , O R D E R A N D L U C K .

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AT 1 8 0 M P H , I F Y O U A D J U S T

S O T H AT E A C H S H O T L A S T S

M O S T O F W H AT Y O U S E E

PA I N T E D I N S T R E A K S A C R O S S

M O S T O F W H AT Y O U S E E AT A

I N M I L E S — I T ’ S M O U N TA I N S

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TEXT BY RICHARD MCCOY + PHOTOGRAPHY BY HADLEY FRUITS

THE ONGOING ARCHITECTURAL & HISTORIC PRESERVATION EXPERIMENT IN COLUMBUS, IN THIS PAGE: Miller House and Garden exterior, designed by Eero Saarinen (1957); OPPOSITE PAGE: Detail of Miller House and Garden kitchen, designed by Alexander Girard (1957)

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BY MOST STANDARDS, COLUMBUS, INDIANA, IS A LITTLE TOWN IN THE MIDDLE OF NOWHERE. However, it’s unlike any other place in the world, with over 100 buildings, landscapes, interiors, and works of public art designed by internationally-recognized masters. From these projects a unique style of American Modernism has emerged. Recently, though, an equally unique set of challenges around preserving and growing this history of design excellence has begun to surface.

Since Eliel Saarinen designed First Christian Church — widely considered as the first Modern church in America — in 1942, Columbus has demonstrated how the design process can create new buildings, with new ideas, within the context of a small town, while preserving and enriching the many structures designed in the late 19th and early 20th century. Despite the recognized success of the Columbus experiment, these ideas and this method have not been duplicated anywhere else. Today, in a slightly different way, this approach to development and redevelopment is called “placemaking” — the notion that interesting places are key to creating communities that attract the best and brightest work forces.

Theodore Prudon, president of the board of directors at Docomomo-US, an international organization dedicated to the preservation of Modern architecture, aptly sums up what makes Columbus unique to design aficionados. "It's a kind of museum of Modernism, American-style: a conscious collection of buildings as design objects, but in use," he says. "I don't think there's another example out there in the US, or in the world, for that matter, that matches Columbus."

Today, however, the city finds itself at a crossroads. Take, for example, The Commons, a new building designed by Boston-based Koetter Kim & Associates. It's operated by the city as a park, with a 600-seat performing arts space and Jean Tinguely's 1974 kinetic masterpiece "Chaos No. 1," in addition to the town's busiest playground, featuring the "Luckey Climber," a 35 foot-tall play structure. Now three years old, the Commons remains the last significant project in Columbus designed by a major architectural firm.

There are other changes afoot as well. Many of the great structures that created the town’s legacy of design have begun a programmatic change, such as Eero Saarinen’s 1954 landmark Irwin Union Bank, now operated by Cummins as a conference center.

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Additionally, many of the great Modern buildings are now 50 years old and in need of physical repair, best exemplified by the ongoing project to rebuild the 1971 I.M. Pei-designed county library's steps and plaza.

The financial landscape has shifted considerably. The city’s greatest benefactors, the Miller family, once known as the “Medicis of the Midwest,” have a dramatically reduced role in the community: the family patriarchs recently passed, and their children donated their Eero Saarinen-designed family home to the Indianapolis Museum of Art. Irwin Union Bank & Trust, the Miller-run financial institution, closed during the 2007-08 financial crises; and the family's Irwin-Sweeney-Miller Foundation ended its gift-giving operations recently, after donating tens of millions to the community over the span of nearly 60 years. Add in the loss of the Arvin Foundation and the Irwin Financial Foundation and it becomes clear that questions abound regarding how new Columbus projects and ideas will be supported.

Of course, from an economic perspective, Columbus is doing just fine, even great, as home to the headquarters of international powerhouse Cummins Inc., and many other thriving firms: SIHO Insurance Services, NTN Driveshaft, Enkei America, Johnson Ventures, and Noblitt Fabricating. This employment environment has created an average annual income of just over $46,000, which remains the highest in the entire state of Indiana.

But in a fairly quiet way, leaders in the community have been looking for the city's next big move, a way to capitalize on its history of design excellence. From a design perspective, this move has three parts: one, the creation of the Columbus Arts District, a downtown area that Mayor Kristen Brown made a signature piece of her administration; 70

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two, a unique partnership between the Columbus community and Indiana University, resulting in the creation of the Indiana University Center for Art+Design (IUCA+D); and three, the preservation, conservation, and management of the design assets in the community.

All of these efforts are founded on a system of collaboration and coalition-building that have allowed for remarkable public-private partnerships.

The mission of the Columbus Arts District, “to be the cultural and creative capital of the Midwest,” is a bold statement for a city with a population of less than 50,000 located 45 miles south of the state capital and 45 miles east of Indiana University, home to the best art school in the state. This is nothing short of visionary.

Key to making this mission a reality is the creation of the IUCA+D. Opened in 2011, the Center is led by T. Kelly Wilson, an architect and painter with considerable academic experience teaching in just about every Ivy League university. Wilson was attracted to the project because of the history of design excellence and the design power still emanating from buildings scattered across the county.

“I came here because this place matters,” he says. “It matters because the designs here can teach people, by direct experience of the buildings, spaces, and landscape of the city, how the built environment works together. This is a place filled with buildings designed to talk to other buildings while respecting the context of their past. This is a rare thing.”

Wilson sees IUCA+D as a vehicle for creating an entirely new approach to creating designers that the world needs today: one that reintroduces art and design practices to each other, utilizing the city as a laboratory for experimentation, innovation, and creation.

But his vision stretches beyond just using the city as a kind of museum to built Modernism;

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[THIS PAGE] TOP AT URBAN OUTFITTERS. ROBE BY AMY KIRCHEN. BELT BY HUMANOID AT HAUS LOVE. JEAN BY AG AT SAKS FIFTH AVENUE. BOOT BY BEDSTU AT HAUS LOVE. [OPPOSITE PAGE] HEADBAND AT ANTHROPOLOGIE. DRESS

BY COLLECTIVE CONCEPTS AT NORDSTROM. SHIRT DRESS BY TROUVÉ AT NORDSTROM. DRESS BY HUMANOID AT HAUS LOVE.

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FLORAL PRINT TOP BY ZARA AT ZARA. CREAM FLOCK PRINT DENIM PANT BY ZARA. PEACH TRENCH COAT BY BURBERRY. GOLD & DIAMOND HALF HOOP FROM EMERALD CENTER.

SHEER WRAP DRESS BY DIANE VON FURSTENBERG, STYLIST’S OWN. SILVER BANGLES FROM PANDORA, SILVER TOWN & EMERALD CENTER.

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BELL SLEEVED BLUE JEAN TOP BY ZARA. CUSTOM MADE LINEN SHORTS FROM NATIVA. LARGE STONE NECKLACE, TURQUOISE & WOODEN BRACELET, VINTAGE TURQUOISE & SILVER RING WITH NATIVA CLUTCH.

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BLUE & GREEN BEO PRINT DRESS BY COLLECTIVE CONCEPTS AT NORDSTROM. GOLD KNOT NECKLACE & GOLD CUFFS BY BURBERRY.

BRIGHT YELLOW BELL SLEEVE BY ZARA AT ZARA. NECKLACE, GOLD CHAIN WITH STONE DETAILS & GOLD BANGLES BY BCBG.

FLORAL PRINT RUFFLED TOP BY RALPH LAUREN SPORT AT POLO RALPH LAUREN. YELLOW PLEATED SKIRT BY J. CREW AT J. CREW. PALE PINK & GREY HEELS BY BCBG GIRLS. VINTAGE ROSE RING & VINTAGE CUFFS.

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“ What newspaper and magazine writers, who work in rabbit time, don’t under-

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stand is that the practice of architecture has to be measured in elephant time. “

EERO SAARINEN

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Photography by Dauss Miller Styling by DaNisha Greene Hair and Makeup by Keondra Atwater Models Lauren (LModelz) and Tori (S2 Model Management) Design by Ben Long

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110 Vest - Pari Shorts - Po ah by Barbara Riorda n Shoes - Si ppy Seeds gn Earrings an ature Shoes d ring - L ’histoire De Fayonne r

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PH O TO G R AP HY BY G AB R IE LL E CH EI KH /S TY L E BY SA VA N N AH N O R R IS /M AK EU P BY A N D R EW EL LI O T( FA CE S

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S CY L L A + C H A RY B D I S

HAIR PIECE: NEREID / FROCK: MY MUSE / DRESSING GOWN: MY MUSE / FUR CLOAK: 9LIVES VINTAGE

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BY CO M M ER CI AL AR TI SA N

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HAIR PIECE: 9LIVES VINTAGE / DRESSING GOWN: MY MUSE / NECKLACE AND SCULPTURE: NEREID / BODYSUIT: 9LIVES VINTAGE / SHOES: JEFFREY CAMPBELL

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GOWN: MY MUSE

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SCARF: STYLIST’S OWN / GOWN: MY MUSE / BOOTS: MODEL’S OWN

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HAIRPIECE: 9LIVES / GOWN: MY MUSE / MINK: STYLISTS OWN / SHOES: JEFFREY CAMPBELL

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HAIRPIECE AND SCULPTURE: NEREID / GOWN: MY MUSE / DRESSING GOWN: MY MUSE / FUR CLOAK: 9LIVES

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