History

Construction began in 1934 and continued through 1937, eventually becoming, “…an improbable ziggurat of glass, copper, and specialty shaped cinder blocks,” states Travel + Leisure April 2003. The structure intrigues the eye from the exterior and begs you to enter. Upon opening the front door to this unconventional world, you begin to wonder “how” and “why” and at once, you are filled with possibilities. The low and sheltered entry opens into a bright and soaring reception area that is bathed in natural light, spring green and crab-apple pink. The Unit Block of the exterior continues into the walls and floor of the interior meandering its way to the Floating Conference Room… situated eighteen inches below the pond.

The famous across-the-pond view of the Studio graphically portrays Alden Dow’s ability to integrate his architecture with the environment. His statement, “…gardens never end and buildings never begin” is best exemplified by this view of the Studio. This masterpiece continues to delight, entertain and surprise, each and every visit.

Picasso’s cubism, Benny Goodman’s “Swing, Swing, Swing”, Rodgers and Hammerstein’s “Oklahoma”, and the architecture of Frank Lloyd Wright, Richard Neutra, Meis Van de Rohe, and Alden B. Dow ushered in new artistic expressions of the mid 20th century modern age.

By 1939, Alden Dow had designed over twenty unique and different homes in Midland, many for family and friends. To his wife, Vada, it seemed as if everyone else in town had a house designed by her husband but her. Their family now totaled four and it was time to make the structural drawings a reality…it was time to add their family home. This residence was completed in 1941 but continues to awe the imagination.

The Dow’s home feels like a garden in every room. Just like a garden path, surprise is around every corner. Reflecting colors, textures, shapes, and balance of nature, the home opens into a variety of flowing, colorful spaces, grand in scale yet conveying intimacy and comfort. As you step in from a low and sheltered entry, your first view of the interior takes your breath away – two walls of windows, color, a vaulted ceiling and expansive views of the terraced garden beyond.

Alden Dow’s belief and appreciation of others’ talents drew him to admire and collect works from his incredibly gifted contemporaries. The organic shapes of Jacobsen’s Swan Chair to the revolutionary design of Eames’ Lounge Chair and Ottoman to the clean sweeping lines of European modern designers effortlessly complement and blend into Dow’s architectural style. These mid-twentieth century modern designers created groundbreaking designs of “modern” furniture that continue to stand the test of time. Imagine being part of this movement…a time when new technology and new materials allowed for countless possibilities. Over the years, Alden and Vada Dow collected mid-century American pottery and Scandinavian glass. The home’s built-ins create plateaus beckoning for these embellishments. The smooth curved lines of works by Macintosh, Natzler, Vigland, Orrefors, and Steuben complement the angular and straight lines of the surrounding architecture. The rhythmic white patterned back-drop of Dow’s Unit Block serves as a beautiful stage to display this impressive collection of ceramic and glass.