Alexander Girard and Columbus
Selections from publications that discuss Girard’s work in Columbus.
Girard and Columbus
The Irwin-Sweeney-Miller family was pursuing its own vision. After retaining architect Alexander Girard to renovate the drab Victorian storefronts on Columbus’s main drag—Girard used “daring” paint schemes to liven up the building facades—the family engaged Los Angeles-based architect Cesar Pelli and a Chicago shopping-mall developer to draw up plans for a new “superblock” in the heart of the downtown.138 As it turned out, this effort would take several years, extending into the early 1970s. But through these and related initiatives, mostly concentrated in the downtown area, the Cummins Engine Foundation, the company, and its founding family played a central role in defending Columbus against the dis-investment and decay that increasingly were afflicting American cities in the 1960s. Indeed, the small southern Indiana city emerged as a showcase for contemporary American architecture.
- The Engine that Could By Jeffrey L. Cruikshank, David B. Sicilia, Cummins, p. 237
(At North Christian Church), Alexander Girard designed a tapestry, candelabra, and plant stands.
- Eero Saarinen: Shaping the Future, By Eero Saarinen, Eeva-Liisa Pelkonen, Donald Albrecht, p. 216
Girard and The Miller House
Girard can lay claim to inventing the conversation pit — as evidenced by his 1955 interior design for J. Irwin Miller’s Columbus, Indiana, home designed by Eero Saarinen.
- Dwell magazine, Feb. 2008, p. 98
Saarinen turned over the interior design details to Alexander Girard, who enlivened the rigorous architecture with brightly colored rugs, pillows, and wall hangings. “He made the house a home,” says Roche. “His sense of color was remarkable.” Behind the cylindrical fireplace in the living room, Girard designed storage cabinets for the Millers’ collection of antiques and art from all over the world. For seating, he sunk a fifteen-foot-square conversation pit into the floor “The kids had overnight pajama parties in there,” recalls Irwin Miller.
- Classic Modern: Midcentury Modern at Home By Deborah Dietsch
Alexander Girard’s work imbued modern interiors with strong colors and playful patterns that brought warmth and comfort to rooms that might otherwise have seemed severe and uninviting. For the Miller House, Girard designed a wide range of interior architectural details, including a 50-foot long main storage wall and the conversation pit, as well as a seasonally changing program of textiles that enlivened the interiors. Working with Xenia Miller, he selected ornaments and antiques to personalize the house. He also designed several rugs for the house, including one composed of emblems that represent family history and associations. There are ‘Y’s for Yale (Mr. Miller’s alma-mater), representations for each child, and additional symbols of meaning to the family. Some of the chair cushions designed by Girard also feature the initials of family members. His passion for folk art is also visible in the objects chosen for the interior of the house.
- from Indianapolis Museum of Art website
Through the late nineties…Mr. Miller would have his mail sent home and work out of the former gardener’s shed that Alexander Girard had redesigned.
- from The Cathedral Builder By Charles E. Mitchell Rentschler, p. 152
Elizabeth G. Miller recalls…”Sandro would take (my mother) up and down Second Avenue in New York and say, ‘Get out of the car and go into that antique store. Come out in fifteen minutes and tell me the three items that are the best in there.’ It scared her if she didn’t get the three best. It was a fabulous education. She did have a good eye in the end, and her eye was trained by Sandro…”
- from Alexander Girard, A Designer’s Universe, p. 296, by Alexandra Lange
More about Girard
Girard is most well known for his bold, colorful, and iconic textile designs for Herman Miller (1952-1975). These were often featured in conjunction with furniture designs by his contemporaries Charles and Ray Eames, and George Nelson. In his designs for La Fonda del Sol restaurant (1960), he experimented with typography as a communication tool and large-scale environmental graphic. Textiles and Objects (1961) was a very influential New York store sponsored by Herman Miller that featured Girard’s designs inspired by his travels and folk art collection. The Girard Foundation (1962) houses his own personal and extensive collection of folk art, textiles, toys, and objects from around the world. His complete environmental design for Braniff International Airways (1965) gave him the opportunity to work at all scales with color, graphics, textiles, and furniture design. He designed every aspect of the project himself, from the minute-sized sugar packets and the ticket counters to the graphic colors of the planes themselves. Alexander Girard’s playful yet sophisticated designs continue to inspire new generations of artists and designers. The breadth and scope of his work is truly remarkable.
- Alexander Girard : Alexander Girard, Todd Oldham, Kiera Coffee
For many of the 21 years Alexander Girard worked for furnishings giant Herman Miller, the absurdly prolific designer spent his days alone in his studio, crafting what were to become icons of mid-century textile designs…Until 1973 Girard was the company’s head textile guru, producing patterns to befit the furniture designs of his buddies like Charles and Ray Eames and Eero Saarinen, though his prowess extended far beyond silk screens and Jujube-like geometries. He had three architecture degrees, spoke eight languages, collected folk art, and crafted holistic and huge-scale design campaigns.
Experience the Vivid ‘Daydream’ of a Midcentury Textile Icon
- from Curbed.com
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