In 1941, amidst a landscape of traditional architecture, a revolutionary vision took root in the heart of Columbus, Indiana. Time magazine, with a hint of amusement, documented the construction of the "costliest modern church in the world" – a project spearheaded by a progressive congregation and designed by the renowned Finnish-American architect Eliel Saarinen. This wasn't just a church; it was a testament to the transformative power of new ideas, forever altering the architectural landscape of a seemingly "provincial" town.
The First Christian Church, with its captivating prismatic tower piercing the skyline, defied expectations. Standing tall and slender, this freestanding brick campanile is a testament to minimalist elegance. Originally envisioned with a carillon, the tower faced deterioration over time. However, the resolute congregation refused to let this architectural marvel fade into obscurity. In 2014, they embarked on a valiant $3.2 million restoration project, led by Louis Joyner Architect. The reborn tower, resplendent in its renewed glory, now beckons us to delve deeper into the intriguing world of modernist architecture embodied by the church it complements.
Saarinen's clients, belonging to a Restorationist Christian church, sought a space that transcended traditional aesthetics. They envisioned a building that reflected the essence of early Christian principles, yet embraced the possibilities of modern materials and forms. Eero Saarinen, Eliel's son and a rising architectural star in his own right, delved into the history of early Christian architecture, not to replicate the past, but to capture its spirit.
The First Christian Church, originally known as the Tabernacle Church of Christ, occupies a full city block. The church itself, along with a wedding chapel nestled behind it, stands parallel to a Sunday School wing on the west side. These structures are connected by an elevated bridge, all unified by a warm, variegated brick exterior. Local Indiana limestone, prone to discoloration in the coal-burning state, was eschewed in favor of this aesthetically pleasing material. The choice of brick also resonated with the congregation's desire for a welcoming space. As a member of the building committee reportedly stated, "we want the poorest woman in town to feel at home there."
The church's exterior, with its flat roof and unadorned brick walls, might initially appear austere. However, stepping inside reveals a captivating interplay of space and light. The nave, seemingly conventional at first glance, unfolds with dynamic asymmetry. Saarinen, a staunch opponent of "forced symmetry," imbued every element with a sense of tension and balance.
With a full city block at his disposal, Saarinen could have followed tradition and oriented the church eastward. Instead, he turned it southward, allowing the rising sun to bathe the building in a warm glow. The east wall, shielded from the harsh morning light, is devoid of windows, creating a sanctuary of serenity. In contrast, the west wall features a rhythmic pattern of massive piers alternating with expansive rectangular windows, inviting in the gentle western light. To further diffuse the light, a large reflecting pool once graced the exterior, casting shimmering reflections – a poignant symbol for a congregation practicing baptism by immersion. The restoration of this reflecting pool should be a priority for future endeavors.
While the main hall prioritizes a sense of peaceful illumination, a hidden window on the chancel's east wall introduces a dramatic element. A shaft of morning light illuminates the prominent cross above the communion table, casting a subtle yet impactful shadow. This deliberate play of light serves as a physical manifestation of the spiritual dimension, reminding congregants of the coexistence of matter and spirit.
The meticulous detailing throughout the church further elevates the experience. From the light fixtures reminiscent of early Christian oil lamps to the leather-encased door handles, every element whispers a story. These details are likely attributed to the collaborative efforts of Eero Saarinen and the legendary designer Charles Eames.
The impact of the First Christian Church transcends its physical presence. It served as a beacon, attracting other visionary architects like I.M. Pei and Richard Meier to Columbus. Furthermore, it inspired a sequel of sorts – a second church designed by Eero Saarinen when a theological disagreement arose within the congregation. Perhaps a seemingly trivial debate regarding baptismal practices, but a testament to the passion that fuels the creation of architectural masterpieces.
The First Christian Church stands as a testament to the transformative power of embracing bold ideas. It's a dynamic congregation of architectural elements, defying expectations and achieving a precarious harmony. As the tower stretches skyward in a triumphant gesture, it reminds us that even in the heart of what might seem like a "provincial" town, groundbreaking architecture can leave an everlasting mark.
