Bacon, Charles 18th-19th Century (England)
Summary: A detailed account of his daily life from 1813, July 11 - 1815, February 28, with references to his work both as Clerk of the Works at Whitehall, Westminster and St. James and in his private capacity as an architect at Woodford Hall in Essex (for John Maitland), Whitehall Chapel St. James and elsewhere. (N. B.: Bacon's diary for the years 1816-1817 is housed in the Essex Records Office in Colchester, England.)
Summary: File of letters to Jean Badovici, who served as architectural editor for the Librarie Morance and editor of L'Architecture Vivante. Collection includes letters from the architects Peter Behrens, Pierre Chareau, Tony Garnier, Siegfried Giedion, Frederick Kiesler, Ludwig Hilberseimer, Francis Jourdain, Virgilio Marchi, Erich Mendelsohn, J.J.P. Oud, Hans Poelzig, Harry Rosenthal, Henri Sauvage, Adolf Schneck, and Mart Stam, mostly relating to articles by them or about their work. With two essays: "La Construction des aeroports modernes" by Hermann Gescheit, and "Hallenbau Land und Stadt Magdeburg" by Bruno Taut.
Summary:The collection consists of photographs, notebooks, letters received and files on Badovici's home in Vézelay and the urbanization of Maubeuge.Series I. Photographs, ca. 500 items (albums 1-6): Original and vintage photographs of architecture from Austria, Czechoslovakia, Russia, Netherlands (primarily of the Van Nelle factory), and France. Plus dummies and paste-ups for the publication L'Architecture vivante of which Badovici was editor.Series II. Notebooks, 5 v., n.d. (box 1): Five notebooks containing extensive notes, loose manuscripts, lectures, articles, and "thoughts."Series III. Letters received, 1925-1954 (boxes 2-3): Both personal and from architects and publishers, including Henri Sauvage, Julius Posener, and the Groupe des architects modernes. With miscellaneous sketches, invitations and announcements.Series IV. Files on the reconstruction of Vézelay and Maubeuge (box 4). The first file contains material on his home in Vézelay, mostly invoices, correspondence with commercial firms and various architects, and notes. The other file is on the urbanization of Maubeuge, which he planned with Andre Lurçat. Contains a 6 p. typewritten essay entitled "Conditions d'une reconstruction economique et rapide." With blueprints, drawings, and sketches of the reconstruction plans (880412* & 880412**).
Summary: Two ornamented ceiling designs, one signed.
Summary: Collection contains plans, sections, and renderings for architectural projects, sketches of architecture made during travels to Italy, engravings of 2 competition designs by Thomas Higham, and T. Kearnam for the Houses of Parliament. Also photographs of architectural drawings and travel sketches.Series I. Measured drawings and renderings (75 items): Kiddington Hall, Oxfordshire, 1840-1842 (30): elevations (some showing existing conditions), sections, garden plan, interior and exterior wall treatments, stables, gates, lodge, etc., including details on the use of cast iron beams (with 9 misc. drawings by others, 1842-1847, and one photograph, ca. 1890).Trentham Hall, Staffordshire, 1834-1846 (28): site plan of estate, garden plans (one plan with steps of "patent asphaltum"), floor plans, elevations, coach house, gate lodges, poulterer's house and feeding and breeding sheds, laundry, carpenter's shop, surveyor's office, school house, mausoleum for the Duke of Sutherland and relations, piggery (octagonal with a clerestory), smithy, and several sets of designs for cottages. Plus a group of 164 photographs of drawings by Barry of Trentham Hall (860602).University College, Oxford, proposed additions, 1839 (6): plans, elevations, and sections. Royal Exchange, London, proposals, 1839 (three, including one by John Lewis Wolfe and one that is possibly for another project, but in the same gothic style): elevations. St. John's Church, Upper Holloway (London), ca. 1833: transverse cross section and constructional details.Travellers' Club, London, ca. 1830: one rear elevation. Derry Hill, Wiltshire, lodge, ca. 1842: one elevation with plan. Walton House, Surrey, 1837: one plan. Birmingham Town Hall, proposal, ca. 1830: one watercolor rendering.Attree Villa, Queen's Park, Brighton, ca. 1827: one rendering (possibly drawn by George Penrose Kennedy). Athenaeum Gallery, Manchester, ca. 1837: one rendering (of a preliminary design that was simplified in execution).Miscellaneous (3): Front elevation for a neoclassical clerestoried church after the 17th century Italian pattern, ca. 1840, elevation; view of an unknown Gothic church drawn and possibly designed by Barry; sketch of a Gothic capital for the church of St. Peter (presumably the one designed by Barry at Brighton).Series II. Travel sketches of architecture (9 items): palazzi in the Via del Plebiscito, Rome 1818; Casina di Raffaello at the Villa Borghese, Rome, 1818; Temple of Aegina, 1818; Oakley Hall, Suffolk, 1827; Waltham Abbey (2), 1841; a street view, possibly of Florence; and mosaics in Bethlehem; notebook page with a medieval town.Series IV.(41 items): two engravings of the competition design for the Houses of Parliament, London (one by Thomas Higham; the other, by T. Kearnam, 1836, has extensive pencilled changes by Barry making the design more asymmetrical); proof impression of St. Peter's Church, Brighton, 1827 (designed, drawn, and engraved by Barry); engraved portrait of Barry; and thirty-seven proof impressions for the plates in Alfred Barry's "Life and Works of Sir Charles Barry," 1867.Series III. Photographs of travel sketches (39 items): Photographs of privately owned travel sketches (thirty-eight items including nine in color) and one watercolor of Queen's Park, Brighton.
Summary: Four reels of black and white microfilm of drawings by Barry, by his office, and by others for Trentham, which was one of the largest English country houses before its virtual destruction in 1910. About 370 drawings are by Barry himself, about 165 by his office, and 265 by others. About 400 extra frames were taken of inscriptions on the drawings. Included are elevations, floor plans, sections, garden plans, etc. (Two master reels of color transparencies are currently unavailable for research but are to be reproduced.)
Summary: The bulk of the collection consists of letters by Sir Charles Barry to various correspondents regarding his work, the business of the Royal Academy and personal matters. Included are letters by Charles Barry and Edward Middleton Barry.Series I. Twenty-one letters by Sir Charles Barry, 1824-1859, including an 1824 letter relating to plans and specifications for the design and construction of a cottage; an 1827 letter regarding Ambrose Poynter's wish to visit Lewis Cottingham's Gothic museum; a sketch and letters, 1842, 1846, pertaining to the saloon of the new Reform Club; letters of 1843 and 1847 mentioning the application of electrotype to art, and Haddon Hall; and an 1859 letter referring to business of the Royal Academy.Series II. Six letters by Charles Barry, 1864-1898, including an 1880 letter to J. C. Hallett relating to the process of estimating the cost of buildings.Series III. Three letters by Edward Middleton Barry, 1863-1874, including letters of 1873 and 1874 to John F. Lewis mentioning Sir George Scott and George Edmund Street as candidates for Treasurer of the Royal Academy.Series IV. Three clippings relating to Sir Charles Barry: an 1860 obituary, an 1865 illustrated commentary on the statue of Barry by J. H. Foley in the new Palace of Westminster, and an 1867 review of the biography of Barry written by his son Alfred.
Notes: Capitol Records Building drawings and photographs: Gift of Mr. & Mrs. Welton McDonald Becket, Laguna Beach, CA
Summary: Albums of clippings, letters, photographs and ephemera, as well as brochures, company newsletters and related materials collected by MacDonald Becket, document the work of the successive architectural firms of Wurdeman and Becket, Welton Becket and Associates, and the Becket Group.Thirty-seven scrapbooks recording the work of the firms, their principals and associates form the bulk of the collection. Created in-house by the firms, the albums are generally annual compilations of clippings taken from newspapers and magazines, many gathered by a clipping service. These clippings, which range in date from 1945 to 1986, are notable for their broad range of sources, drawing from specialized architectural periodicals, shelter and lifestyle magazines and obscure trade publications, in addition to newspapers. The initial albums are comprised almost exclusively of clippings, but as they move through time, the scrapbooks also include limited amounts of other materials, such as photographs, letters and ephemera. In addition to this chronological record of the firms, a final scrapbook focuses more specifically on the career of MacDonald Becket.The archive also includes promotional brochures and employee newletters created by the firms, as well as miscellaneous materials. The various promotional brochures range from the mid 1950s presentation of Welton Becket and Associates work, "Vision...Through Supervision," to one marking the Ellerbe Becket merger in the late 1980s. An incomplete set of the "Reporter," the employee newsletter, presents highlights of architectural projects and awards, as well as profiles of staff. A small number of miscellaneous items, primarily articles and brochures, relating to MacDonald Becket and his interests complete the collection.
Summary: Drawings for light fixtures and door hardware.Designs for three ceiling light fixtures for the entrance hall of the Austrian pavilion at the Exposition Internationale des Arts Decoratifs, Paris 1925, on whose design Behrenscollaborated with Josef Hoffmann (folder 1). Three designs for door knobs on one sheet, ca. 1925, pencil and ink, possibly as part of Behrens' design of the "Konservatorium" for the Austrian pavilion at the Exposition des Arts Decoratifs (folder 2).
Österreichischer Werkbund documents, 1933-1934., 5 items (w/ Oskar Kokoschka, Walter Sobotka, Alois Welzenbacher, Clemens Holzmeister, Peter Behrens, Ferdinand Kitt, Alexander Popp, Michael Powolny and Eduard Josef Wimmer) (Accession # 870323)
Summary: Concerning a conflict within the association. Members involved include Oskar Kokoschka, Walter Sobotka, Alois Welzenbacher, Clemens Holzmeister, Peter Behrens, Ferdinand Kitt, Alexander Popp, Michael Powolny and Eduard Josef Wimmer.
Berckmans, Jean 20th c. (Belgian)
Summary: Colored renderings and sepia prints from Berckmans's years as a student, probably at the Ecole Saint Luc in Schaarbeek, Belgium. Included are studies for projects such as the St. Getrude cloister, the church of St. Denis, and the Chateau de Grant-Bigard, as well as houses, sports clubs, schools, a bus terminal, stockmarket, and furniture.
Summary: An ornament study and a view of the town of Goor.
Summary: Photographs of drawings exhibited at the Protetch Gallery, New York. Projects depicted include Port Imperial, New Jersey (25 items); Les Temples du Lac, Saint-Quentin-en-Yvelines (6 items); Les Espaces d'Abraxas, Marne-la-Vallée (5 items); La Place du Nombre d'Or, Antigone (near Montpellier) (3 items); Walden 7, Sant Just Desvern (near Barcelona) (3 items); and misc. (12 items).
Bonomo, Salvatore 19th c. (Italian)
Summary: Three alternative designs for a temporary pavilion to be erected to receive the King of Italy at Palermo, Sicily.
Summary: Architectural drawings document English, French, and Dutch and Belgian vernacular buildings of the 13th and 14th centuries. The building types include churches, tithe barns, manor halls, hospitals, and market halls. Of the drawings, approximately thirty represent English buildings, ca. twenty are French, with one Dutch and one Belgian barn. The drawings are ground plans, site plans, structural details and elevations done in ink and pencil. With the drawings are some photostats and photographs. These drawings were executed in collaboration with Walter Horn as part of their never published study on Medieval 3-aisled timber halls. (See the Walter Horn Papers, accession no. 920087, 920087*, 920087**.)
Summary: The collection includes eighty-six original plans, one original plaster maquette, a file containing letters, and one watercolor.
Summary: Documents from the archives of the Belgian architectural periodical "L'Equerre". Primarily consisting of correspondence between the editors and various architects regarding business and articles for the magazine, participation at various expositions and information on the Exposition National 1939. Correspondents include Huib Hoste, 1936-1940; Andre Lurcat, 1939; Victor Bourgeois, 1936-1939; Paul-Amaury Michel, 1936-1940; Alberto Sartoris, 1938-1939 among others. With a 3 p. typewritten history of the movement.
Records of the CIAM Belgian section, 1928-1958 (bulk 1934-1958)., 6 linear ft (w/ Bakema, J. B. (Jacob Berend), 1914-1981, Eesteren, Cornelis van, 1897-1988, Eysselinck, Gaston, 1907-1953, Fitschy, Paul., Giedion, S. (Sigfried), 1888-1968, Gropius, Walter, 1883-1969, Hoste, Huib, Koninck, L. H. de (Louis Herman), 1896-1984, Le Corbusier, 1887-1965, Sert, José Luis, 1902-1983, Tyrwhitt, Jaqueline, Wogenscky, André, 1916-2004) (Accession # 850865)
Summary: Records of the CIAM Belgian section comprise the records of Paul Fitschy, Liège-based secretary of the Belgian section of CIAM, as well as some CIAM-related documents obtained in separate acquisitions. Included are correspondence and documents generated by Belgian section itself, the central CIAM secretariat in Switzerland, and associated CIAM national sections.The records reflect CIAM's development as an international organism, devoted to discussion and promotion of modern architecture and city planning. The CIAM congresses, particularly those from 1937 to 1956 (CIAM V through CIAM X), are well-documented, as are the day-to-day operations of the Belgian section. Of special interest are the documents of the planned CIAM VI in Liège, cancelled in 1939 at the onset of World War II. Principal correspondents include Victor Bourgeois, Sigfried Giedion, L. H. de Koninck, Huib Hoste, Gaston Eysselinck, Cornelis van Eesteren, and J. B. Bakema; some items from Walter Gropius and Le Corbusier are also preserved.The collection contains ca. 1250 items, among them approximately 810 letters, 375 documents, 36 handwritten notes (predominantly by Fitschy), and 29 oversized items. Included are meeting minutes, memoranda, programs, reports, questionnaires, book proposals, brochures and other ephemera, rosters, and exhibition materials. Of note are the several examples of CIAM grids or "grilles", developed by Le Corbusier in 1948 and promoted extensively by CIAM as a chart-based city planning tool, as well as accompanying documents and handouts.
Other Archival Locations: L'Equerre records can be found under accession number 850864.
Bradshaw, John 18th & 19th c. (English)
Summary: Studies of English churches (interiors, exteriors and ornament), abbeys (interiors and exteriors), country homes and a hospital (exteriors); Roman monuments and antiquities in England; and railing, fences and walls. Also designs and plans for Gothic-style chimney pieces, park entrances, houses, gardens and a poultry-house.
Summary: Collection consists of fifteen photographs of furniture and interiors designed by Marcel Breuer, partially in collaboration with Gustav Hassenpflug.
Summary: Two printed sheets issued individually as part of the Max Bayer designed Bauhaus prospectus for wooden furniture. The sheets illustrate pieces of furniture designed by Max Bayer (wardrobe), Marcel Breuer (chairs and cupboard) and Erich Dieckmann (chairs). One card is stamped with the name of Bauhaus student Katt Both and the year 1926.
Summary: Architectural plans and photos, with accompanying legends on small, separate pages, of the UNESCO building originally designed for construction at the Porte Maillot, Paris.
Summary: Collection consists of drawings of elevations, sections, and plans by Briano, who evidently prepared them for publication; two of these have elaborate explanatory text on their reverse and all have the same format. Most of the drawings are for unidentified buildings. At least nineteen, and possibly 7 others, are for Polish buildings of the Jesuit order, including elevations and sections for the college at Przemysl, a church of "Jaroslavia" (Paszenda), and a chapel at Sandomierz. Other drawings are for buildings in Italy. Three sheets include drawings on both sides. One smaller drawing is of Vignola's chapel of Sant'Andrea, Rome. Four sheets of drawings of the classical orders include part of the text of an architectural treatise on their reverse.The drawings are numbered according to the Bury catalog.
Bucher, François 1927-1999 (Swiss)
Summary: Plan, floor plans, elevations, sections, and specifications for the trivium of the Nautilus Foundation, Lloyd, Florida. The building includes a library, archives, and art gallery.
Summary: The archive contains correspondence files, alphabetically arranged, for the major projects undertaken by the firm, including: The World's Columbian Exposition, Chicago, 1893, for which Burnham served as chief of construction; the city plan for Washington, D.C. (1901) and for Chicago (1909); the Philippine Carnival (1911); and the reconstruction of San Francisco (1906). Correspondents include politicians, architects, sculptors and prominent civic leaders such as Charles Eliot Norton, Henry Bacon (regarding the Lincoln Memorial), Charles Moore (on the plan for Washington) and Frank Millett. The activities of the Commission of Fine Arts are particularly well-documented. Other important figures represented include Henry Clay Frick, Cass Gilbert, Frederick Law Olmsted (with a sketch of his Liberty, or America for the Grand Basin at the World's Columbian Exposition - 900203*), Augustus and Louis Saint-Gaudens, Johannes Gelert, Jules Gúerin, Thomas Hastings, Richard Morris Hunt, Philander Knox, and Lorado Taft. Writings by Burnham in the collection include a draft of a speech delivered in 1897 before the Merchant's Club of Chicago on life in Chicago, and another speech, or essay, entitled "The Appearance of the City."
Summary: A broadly representative selection of drawings and 21 estimates for building and manufacture of designs, representing the various types of commissions Butterfield received and illustrating his work in promoting Gothic Revival design. Also included are record drawings (measured drawings) of buildings not designed by Butterfield.Series I. Building designs include drawings for 25 projects: churches and chapels, schools and hospitals. 58 plans, elevations, sections, and details (altars, screens, choir stalls, pavement patterns, pulpits, fonts, etc.) document the following church and chapel buildings: Severn-Stoke Church, 1838-1839; All Saints, Babbacombe, Devon, 1865-1874 (3); All Saints, Hastings, 1888-1889 (1); Ault Hucknall, Derbyshire, 1885-1888 (1); Balliol College Chapel, Oxford, ca. 1856 (1); Caterham Barracks Chapel, 1885-1887 (3); Christ Church, Albany St., London, 1883-1884 (2); Dalton, Yorkshire, 1868 (1); Fulham Palace Chapel, ca. 1864-1867; St. Andrew's, Rugby, ca. 1877 (4); St. Alban's, Baldwins Gardens, ca. 1855 (1); St. Augustine's, Bournemouth, 1891-1892 (1); St. Augustine's, South Kensington, London, ca. 1870 (5); St. Bartholomew Hyde, Winchester, 1865 (1); St. Bee's, Cumberland, 1886 (1); St. Clement's, Hastings, 1872-1876 (1); St. Denis, East Hatley, Cambridgeshire, ca. 1874 (8); St. Mary Magdalene, Enfield, 1881-1883 (3); St. Mary's Warwick, 1886 (1); St. Michael's, Winchester, 1879-1882 (1); Sedgebarrow, Worcestershire, 1867-1868 (1); Shaw, Berkshire, 1875-1878 (1); Tottenham All Hallows Church, 1875 (1); Winchester College, Large Chapel (1); also unidentified designs, including a design for a sculpture on the theme of the Passion, 1877. 120 drawings document designs for St. Michael's Hospital, Axbridge, Somerset (1878-1882) and Rugby School (1867-1885).Series II. Ecclesiastical objects designed by Butterfield are documented with drawings of furnishings and ritual objects. Butterfield's designs for church plate were adapted for use internationally, representative examples having been published by the Ecclesiological Society (formerly the Cambridge Camden Society) between 1847 and 1856. Many have materials and sizes indicated. The types represented: alms dish (3); altar frontal (1); candlestick (9); cathedra (1); chalice, paten and alms dish (3); communion service (1); cruet (1); desk (3); ewer (1); flagon (5); hinge (1); lectern (11); lighting fixture (16); litany stool (1); memorial (6); vase (4).Series III. Estimates comprise 14 letters about manufacture of objects and work with contractors. A few drawings in other series include attached estimates.Series IV. Memorials include six identified designs and a memorial in Romsey Abbey for an unidentified person.Series V. Record drawings, not by Butterfield, document Great Mongeham Church, Kent (14 drawings) and St. John the Baptist, Shottesbrooke, Berkshire (17 items), prepared for the 1844 publication on the building by the Oxford Architectural Society as an example of the English Gothic style. Also, one original print after a drawing by Butterfield of the Shottesbrooke Church. [Digitized]
Summary: Collection includes: application for entrance to Antoine Vaudoyer's Ecole speciale d'architecture, 1809; certificates signed by Vaudoyer from the Ecole des beaux-arts, 1814-1819; "Notes sur cinq architects... en reponse a M. Callet... (23 p.), 1839 and "Observations sur une notice publiee par M. Callet architecte, sur les architects du 16ieme siecle" (17 p.), 1842, both formal critiques by Vaudoyer of Callet's writings on French architectural history, with annotations by Callet.
Calvert, John 18th c. (English)
Summary: Two sets of designs for a house of three stories with flanking wings. Each set has an elevation and plan. A separate key gives room designations and sizes.
Summary: Camporese writes to Francesco Gasperoni and C. Labureur regarding his restoration work at the Vatican and includes sketches of architectural plans and elevations. There is also a contract for five sculptural figures of religious subjects in Rome, based on designs by Vincenzo Camuccini and intended for display on the Pincio.
Summary: Record drawings of existing conditions before and after excavation of the theater and before and after restoration of the triumphal arch. Most drawings were published in Caristie's "Monuments Antiques a Orange" (an extra illustrated copy of which is part of the collection), but many of the originals are on a larger scale, are more detailed, and are annotated with measurements. Some drawings are in color and were reproduced in black and white. Some corrected proofs and a separate chromolithograph are included.
Summary: A comprehensive set of record drawings of the remains of the Chateau d'Anet and of alternatives for its restoration by Caristie and his assistant Marie Auguste Antoine Bourgeois. Approximately eighty plans, elevations, sections, and details. Most of these drawings were black-and-white illustrations published in Rodolphe Pfnor's Monographie du Chateau d'Anet Construit par Philibert de l'Orme en MDXLVIII (1867) or in August Bourgeois' Chateau d'Anet, Restauration du Cryptoportique et du Perron (1877), copies of which accompany the drawings. Most design alternatives were not published. Also, approximately twenty views of Anet by others.
Summary: Major portion of the surviving correspondence and papers (but excluding many records of his practice, especially plans and drawings) of Max Cetto. Primarily professional correspondence of Cetto during his German career (1925-1938). With some postwar correspondence relating to CIAM and with Walter and Ise Gropius; one manuscript from his period in Mexico; miscellaneous personal papers; vertical file material; and three examples of his drawings and models.Series I. General correspondence, 1925-1938, arranged in chronological order (folder 1-10). The correspondence is mostly of a professional and business nature and relates to Cetto's professional advancement, projects, competitions and exhibitions, and the publication of articles and reviews. Part of the correspondence is devoted to Cetto's membership and participation in the CIAM. His correspondence with Walter Gropius concerns the economic hardships Cetto faced in being a member of CIAM. Most notable among the correspondents are: H. de Fries, Hermann Loeb, Siegfried Giedion, Hans Poelzig, Mart Stam, Roger Poulain, J.J.P. Oud, Bruno Taut, Richard I. Neutra, Quik Waehlin, Mies van der Rohe, Lili Reich and Walter Gropius.In a letter from H. de Fries, 1927 May 17, there is a critical discussion of Cetto's "Voelkerbundpalais Genf" project, which is also commented on by S. Giedion, 1927 Aug. 19, and defended by Cetto, 1927 Sept. 19. In these letters there is also a brief discussion of Richard Neutra's, Le Corbusier's and Hannes Meyer's entries to the same competition. An exchange of letters between Cetto and his brother Friedrich, 1932 April 11-23, reflects Cetto's view of Communism and discuss his attempts to find work in Russia. Of interest are further several letters from Max Cetto, 1933-1936, which reflect his attempts to adapt to the political changes in Germany without compromising his architectural ideals and his relationship to emigrated collegues. In 1938 Sept. 10, a cover letter from Eugene Masselink, Frank Lloyd Wright's secretary, announces a letter of recommendation on Cetto's behalf, to secure him an American visa; this letter is annotated in an unknown hand.Most notable is a letter to his cousin Alice Day, 1927 Nov. 17, in which Cetto discusses in detail his own views on modern architecture. In an attempt to briefly outline the historical evolution of modern European architecture, he mentions as predecessors and exemplary models Berlage, van der Velde, Loos, Wagner, Poelzig, Le Corbusier and Gropius and comments on the importance of the Bauhaus, the "Werkbundausstellung 'Die Wohnung,' Stuttgart 1927," the "Genfer Voelkerbundwettbewerb" and the "Staedtische Hochbauamt Frankfurt." Cetto distances himself from the "emotional" tendencies of Expressionism and proclaims himself an avid follower of the "rational" "Neue Sachlichkeit," whose basic artistic and architectural principles he tries to define.Series II. General correspondence, 1947-1949, arranged in chronological order (folder 11). The correspondence in this series mostly discusses attempts to form a Mexican delegation to the post-war congresses of the CIAM in 1948-1949. In his letters to Jose Luis Sert and Stamo Papadaki Cetto stresses repeatedly his reservations concerning the formation of such a delegation, citing the pseudo-modernistic tendencies of many popular Mexican architects.Series III. Correspondence with Walter and Ise Gropius, 1947 to 1970, arranged in chronological order (folder 12). The correspondence in this series is mostly of a personal nature, discussing vacation plans and family matters. Cetto repeatedly asks for recommendations and work. Some letters discuss specific projects by Gropius such as "Grand Central City" and the "Gropius Stadt" in Berlin. Also mentioned are several individual members of the The Architects' Collaborative (TAC). After the death of Walter Gropius in 1969, his wife discusses exhibitions and the secondary material in preparation by different institutions and scholars.Series IV. Manuscript writings, arranged in chronological order (folder 13). This series contains a number of typescripts of articles and reviews written by Cetto, predominantly before 1933. Most notably "Glas und Gesundheit" (1930) and "Das Entwerfen an den technischen Lehranstalten Offenbach" (1930) as well as critical reports on various competitions, with photographic materials used by Cetto to illustrate the articles. Also, this series contains an undated manuscript (with a French translation), discussing various modern industrial, public and private architectural projects, partly designed by Cetto and constructed from 1929 to 1939 in Frankfurt and California.Series V. Printed writings, arranged in chronological order (folder 14). Twelve articles and reviews published by Cetto, 1925-1932, on competitions, books, exhibitions and various architectural projects and topics.Series VI. Assorted printed materials, arranged in chronological order (folder 15). This series contains printed materials and newspaper clippings, 1926-1970, pertaining to various topics of architectural interest, most notable clippings discussing Cetto's prize winning entry to the competition "Hauptzollamt," 1926. Also, various programs of and invitations to CIAM meetings and congresses, 1933-1935, and to a congress of the "Union Internationale des Architectes," 1948. Folder 15a contains printed matter mostly relating to the Bauhaus, 1926-1931.Series VII. Printed materials on Walter and Ise Gropius, arranged in chronological order (folder 16). Eight articles and newspaper clippings discussing the work and life of Walter and Ise Gropius, dated 1949-1970.Series VIII. Personal papers, arranged in chronological order (folder 17). Assorted personal papers, 1917-1959. Most notable among them are various evaluations by other architects, grade reports, membership cards, teaching schedules and contracts.Series IX. Drawings and models. One original drawing, dated 1928 May 8, and 2 photographs of models for the "Genfer Voelkerpalais" project, 1927.Series X. Group photograph, 1927 (folder 19). A group photograph of Hans Poelzig, Cetto and others, dated 1927 Sept. 14.
Summary: Cockerell's extra-illustrated set of "Vitruvius Britannicus" (5 v., 1715-1771) with twenty-seven drawings and eighteen prints tipped in. Design of a palace for the Duke of Wellington (three folio pages with two plans, two elevations, and a perspective) together with an 1816 letter to his father, the architect Samuel Pepys Cockerell, describing the design in detail (11 p.); Cockerell designates these drawings as his first attempt at an original design. Other drawings include the design of adjacent houses with a unified facade for Messrs. Edwards and Nash, Carlton St., London (three plans and one perspective); design of a house for Bishop Hooley (three plans and one section); design of a staircase in Little Deans Yard (plan, section, and details); a plan to enlarge the York Assembly Rooms; Cockerell's 1818 plan and three views of Robert Smirke's Eastnor Castle; and an early 18th century plan and elevation of Castle Howard (apparently prepared by Colin Campbell). Volumes four and five of this set are by John Woolfe and James Gandon (1767-1771).
Summary: Pages from his sketchbook, showing Deepdene, Thomas Hope's house ca. 1819 (plans, view and description), and Stratton Park ca. 1822 (plans, elevation and description).
Summary: The life and architectural works of C. R. Cockerell, largely based on Cockerell's unpublished diaries. This was a doctoral thesis for the Courtauld Inst. of Art, London, submitted to Nikolaus Pevsner.
Summary: 27 architectural models designed by the architectural firm Coop Himmelblau from 1983-1995. Also included are 38 computer generated negatives, 41 prints printed directly from the negatives, 9 computer generated prints, 16 original drawings, and 2 color photocopies. The 5 projects are: Rooftop Office Remodeling, Vienna, 1983-1989; Open House, Malibu, California, 1983-ca. 1990; City plan for Melun Sénart, France, 1987; Rehak House, Malibu, California, 1990-ca. 1995; and Anselm Kiefer Studios, Buchen, Germany, 1990 and Barjac, France, 1992. The firm name is also presented as Coop Himmelb(l)au.
Cossetti, Domenico 1752-1802 (Italian)
Summary: Collection contains a 12 p. manuscript entitled "Metodo facile per imparare la prospettiva, ad uso de Giovanni Studiosi, dedicato al medesimo," 1781, with two letters from 1797 and 1799 discussing three years work on a building and acknowledging payment for work on the palazzo of the Marchese Corradi Cersi. With various papers relating to his personal finances and estate dating from after his death.
De Beyne, A.P. (French design firm)
Summary: Designs for cocktail cabinets, record players, tables, chairs and other furniture by a firm in Roubaix.
Summary: Letters [to M. Frecaud?] concerning Duban's work on the restoration of the Louvre.
Summary: A measured drawing reconstructing the original appearance of the ancient Roman Portico of Octavia. The drawing is attributed to Duban, who, as a Prix de Rome winner of the Ecole des Beaux-Arts, did a series of reconstructions of the portico in 1827.
Summary: Collection consists principally of letters addressed to Duban from several correspondents including David d'Angers, Jean Baptiste Debret, Delacroix, Ingres, Hippolyte Flandrin and Leon Vaudoyer. Also includes letters by Duban, documents, and manuscripts. [Digitized]
Summary: 118 photographs of the architectural drawings and blueprints by Charles Eames and Eero Saarinen for two Case Study houses built in the Pacific Palisades section of Los Angeles, California, 1945-49. Ca. 300 color transparencies document furniture designs, many of them prototypes, by the Eames office, 1940-1978. The Charles and Ray Eames home and studio, also known as Case Study House #8, 1945-49, was first designed in 1945 by Eames and Saarinen. In 1948 Eames changed the design significantly and it was this second design that was built. Both schemes are represented here in plans, with additional sections, perspectives, site plans and elevations of the final design. The John Entenza house, also known as Case Study House #9, 1945-49, was designed by Eames and Saarinen and built on a lot adjacent to the Eames house and studio. Drawings include plans, sections, elevations and site plans. Most of the furniture designs are of chairs, the earliest made in 1940 by Eames and Saarinen. Other designs include a sculpture and toy by Ray Eames, as well as litters, pilot seat, screen, shelves, sofas, and tables. Many of the designs exhibit the office's experiments with molded plywood and plastic.
Summary: Preliminary designs for a house in Vienna for Margarethe Stonborough, sister of the philosopher Ludwig Wittgenstein, with letters to and from Engelmann. The album of sketches was prepared by Engelmann in 1926 as a present to Frau Stonborough. It is entitled "Skizzenbuch/April-Mai 1926," with an inscription on the title page, "Frau Margarete Stonborough zu Weihnachten 1926 von P. E." The sketchbook contains 79 drawings glued on the album pages. All sketches are in pencil with the exception of two ink drawings. The drawings consist of plans, including one measured plan (scale 1:100) dated 18 May 1926, elevations, and interior and exterior perspectives. The form of the house changed dramatically from its initial conception to the adopted plan.The collection includes 4 original letters and 7 photocopies of letters, the originals of which are not owned by the repository. Each of the 4 original letters are written by Engelmann: one appears to be addressed to Margarete Stonborough's sister, Hermine Wittgenstein (1932), thanking her for photographs and praising the achievement of her brother. Two are written to Friedrich Hayek (1953), and discuss, among other things, Ludwig Wittgenstein's role in the design of his sister's house. Engelmann credits Wittgenstein with the final design, although important elements of the initial design made by Engelmann were retained, especially in the plan. The fourth letter (1962) is addressed to Thomas Stonborough (Margarethe's son) and discusses the house. In addition 7 photocopied letters have been added to the collection; 5 are written to Engelmann by Hayek and dated 1953, 2 are written by Engelmann to Hayek, also in 1953.
Frank Brothers (American furniture company, 1929-2005)
Summary: The Frank Brothers records contain material from the Frank Brothers furniture company. With its retail store and related services and its furniture importing company, Frank Brothers is credited with defining and promoting mid-century modern furniture design on the West Coast. The company provided, marketed, and sold the furnishings for many of the innovative homes featured in Arts and Architecture magazine's Case Study House Program. It also introduced many of Charles and Ray Eames' revolutionary furniture pieces.Documentation of the Frank Brothers retail store comprises Series I and forms the bulk of the archive. It covers the entire range of operations of the retail aspect of the business. This documentation is primarily visual, including photographs, slides, trade catalogs, scrapbooks and various printed material, and Frank Brothers' commitment to design in all its aspects is overwhelmingly evident, in the furnishing they sold, the ways in which they marketed them, and even in the store itself. The materials included here demonstrate the productive and close relationship Frank Brothers had with a number of designers, especially Charles and Ray Eames; documents the creation of a West coast contemporary aesthetic by the store's interior design service and reveals the striking graphic design of Frank Brothers' print advertising and direct mail campaigns.Two smaller groups of material round out the archive. Series II contains documentation of Moreddi, the wholesale, import division of the family business, run by Ed Frank, which supplied furnishings for the Frank Brothers store and other retailers. Personal material relating to family members, especially Ed and Ron Frank, comprises Series III. Of particular interest is the documentation of Ed Frank's home, Case Study House #25, designed by Ed Killingsworth.
Summary: The Yona Friedman papers consist of written documents, sketches, slides and photographs spanning the years circa 1960-2007.
Summary: Photographs of Fuller's drawings exhibited at the Protetch Gallery, New York. The designs show Aspension structures, Radomes, Dymaxion transport vehicles and houses, and 4D hexagonal towers and office buildings. Projects such as the Ford Motor Company Courtesy Building and the dome for the Tokyo Yomiuri Golf Club are represented. There are also several "4D Time Lock" illustrations.
Summary: Architectural and decorative drawings by Joseph Michael Gandy and John Peter Deering (known as John Peter Gandy). Collection includes three watercolors of imaginary architectural views, two of which are related to scenes from plays (Shakespeare and Aeschylus); one shows an expansive landscape with hills, a river, a city wall, and numerous neoclassical buildings with long colonnades. Also, eighteen sketches, some with color, including ten drawings reconstructing the Greek Doric temples at Paestum (on paper watermarked 1818 and possibly by the architect's brother John Peter [Gandy] Deering), a series of developmental sketches for an imaginary classical cityscape (with an initial plan), and designs for furnishings (canopied beds, fireplace fittings, etc.). With: Watercolor reconstruction of the Mystic Temple of Ceres at Eleusis, in Attica, ca. 1812, signed by John Peter (Gandy) Deering. [Digitized]
Summary: These designs for theater sets (61 items) and literary publications (64 items) are mostly in the Classical and Neoclassical styles with some in the Gothic style. The sets were intended for plays by Aeschylus, Sophocles, Euripides, and Shakespeare and include reconstructions of early buildings. The book illustrations were for works by Dante, Milton, and James Macpherson. [Digitized]
Summary: Collection includes approximately 75 letters, many to unknown correspondents, and eight sheets of notes, some with architectural sketches. Thirteen letters are addressed to his friend and colleague, Alfred de Curzon (ca. 1867-1879). Garnier comments on his efforts to appreciate painting (notably attacking Courbet), discusses his work for the Paris Opera and the ceiling of Lenepveu, and mentions his trip to Venice to view mosaics designed by Curzon. There are five letters to Alphonse Hurpin, who was chosen by Garnier to do the sculptural work on the Opera (ca. 1870). Garnier praises the work of Hurpin and asks him to prohibit visitors from viewing the work in progress at the Opera. Other letters are addressed to Leon Gambetta, the writer Gustave Larroumet and a M. Beule. In alphabetical order by correspondent. [Digitized]
Summary: The archive includes drawings, partial and complete models, project documentation, correspondence, photographs and slides, and ephemera pertaining to projects dating to the early years of the architect's practice. The chronological time frame brackets the period from the architect's early graduate studies to the completion of the Walt Disney Concert Hall, but does not exclude materials produced after 1988 which relate to projects initiated before that date.
Summary: Wood and styrofoam models representing the progression of ideas to a final project for the Schnabel residence on Carmelina Drive in Brentwood, California.
Summary: Documentation of the design and construction of the Walt Disney Concert Hall, Los Angeles, designed by Frank Gehry. The documentation is a project of the J. Paul Getty Trust. Included are photographs and documents of the competition phase and the initial development phase, and photographs of the construction of the Hall.Photographs include those of architectural models and Gehry's sketchbook (taken by Harvey Spector, 1988-2000) and construction photographs by Federico Zignani (October 1999 to 2003), and Grant Mudford (1999-2000). Includes interviews with the principles on videos and sound cassettes. Consultants to this project include Ernest Fleischmann, Lawrence Purcell, and Simon Rattle. Also included in the audio-visual documentation are the contributions of Franklin Murphy, Essa-Pekka Salonen, Craig Webb, and acoustical consultants, especially Dr. Toyota and Dr. Nagata. Some printed matter and photographs record the history of the Hollywood Bowl and its design, including Lloyd Wright's contributions.Four architectural models and 20 drawings from the competition phase, ca. 1988, document the Disney Concert Hall designs by James Stirling and Gottfried Böhm.Videotapes (3) and a typed transcript document the Walt Disney Concert Hall panel at the Getty Center, 2002 Apr. 20, moderated by Carol McMichael Reese with participants Frank Gehry, Ernest Fleischmann, Joseph Giovannini, Dana Cuff, Richard Koshalek, Deborah Borda, and Michael Dear.
Summary: The materials comprise one video recording, one disc containing powerpoint presentation and images, and printed materials. During this event Frank Gehry was united with collaborators and friends to reflect upon the Los Angeles art scene during Gehry's formative years, including his exchanges with visual artists, primarily those in the Venice art scene. The conversation was moderated by Rani Singh and included guests Ed Moses, Peter Alexander, Chuck Arnoldi, Larry Bell, and Tony Berlant. The Getty Research Institute (GRI) hosted events and conducted oral histories inspired by the "Modern Art in Los Angeles" theme beginning in 2003. Much of the research and product generated by the GRI's Modern Art in Los Angeles activities has been incorporated into the Getty's larger initiative, "Pacific Standard Time: Art in L.A.," which focused on postwar art (1945-1980) in Los Angeles.
Summary: The portfolio includes 10 mixed-media prints signed by Frank Gehry of his design sketches for the Walt Disney Concert Hall. They are housed in a wood and stainless steel box designed and signed by Gehry. A laser-cut image on the box lid is of the architect's sketch for the concert hall exterior.
Summary: The Haralamb H. Georgescu papers document the career of this architect who had prominent careers in both Romania and the United States. Trained in Bucharest, Georgescu contributed substantially to Romanian modernism before immigrating to America, where he began a new career and continued to expand his modernist vocabulary, particularly in the Los Angeles area. Most of the papers relate to Georgescu's American projects, but there are also photographic prints and negatives, in addition to some drawings and publications that show the highly modernist work he did in Romania in collaboration with Horia Creangă prior to his immigration to America.Series I contains materials relating to Georgescu's architectural projects, in both Romania and America, consisting primarily of photographic prints and negatives while also including some original drawings and reproductions, documentation, articles, and microfilm. Also included are photographic prints of projects executed by Horia Creangă prior to, or without, the collaborative relationship with Georgescu.Series II includes other materials relating to Georgescu's professional career, in addition to personal materials. Included are immigration files consisting of correspondence and original Romanian documentation, correspondence relating to Georgescu's teaching career, personal histories, publicity including both Romanian and American articles, and some personal photographs.
Summary: Materials related to the design and construction of the house Pier Maria Pasinetti commissioned from architect Haralamb Georgescu form this small archive. The collection includes various documents and photographs relating to the construction and early years of the house on Summitridge Drive in Beverly Hills, as well as materials created at a later date by the Pasinetti Trust.The documents (folders 1-2) include letters received and billing statements from Georgescu and the general contractor; loan records; insurance, tax, and title documents; the original certificate of occupancy; a power of attorney document; and a copy of the deed, as well as a copy of Arts & Architecture magazine featuring an article on the house. The bulk of the archive is photographic. Black-and-white photographic prints and one roll of printed negatives record the site and the construction of the house (folders 3-6) Further black-and-white photographs (folder 7) capture the finished house and its furnishings, along with its owner. The archive also includes materials added by the Pasinetti Trust (folders 8-10). These are primarily photocopies of the previously cited documents or articles and ephemera about Pasinetti, with the exception of print-outs of color photographs taken in 2007 of a desk designed by Georgescu.
Summary: This collection of documents regarding buildings designed by the Nazi architect Hermann Giesler consists of photographs and drawings for projects in Linz, Chiemsee and Weimar. While less known than Albert Speer, the chief architect of the Third Reich,Giesler played an important role in Hitler's plans to physically recreate his country. Giesler's proposal for the redevelopment of Linz, part of Hitler's plan to make this city into the Third Reich's cultural center where all the art stolen from other European countries would be housed, was one of the Fuehrer's favorite projects. Haus Elephant, a very old hotel renovated by Giesler, was the place where Hitler preferred to stay when he was in the Weimar region.
Summary: The building was designed by Gill in collaboration with the sculptor Alfonso Ianelli (published in black and white in "Prairie School Review," v. II, no. 4, p. 15). The building would have been a tall white shaft with red and white banners at the top and a blue base.
Summary: Thomas S. Hines interviews John Gill, the great nephew of architect Irving Gill.
Notes: Holographs, signed; typescripts; photoprint.With a door handle and fittings (6 pieces) manufactured from the designs of Gropius.
Summary: Collection consists of twenty four photos of the Bauhaus school building in Dessau (some of them taken by Lucia Moholy-Nagy) including two photos of the building under construction; two photos of the living quarters for the masters; one photo of the city theater in Jena after its total remodeling by Gropius; three photos of the settlement in Dörten, and two photos of the employment office in Dessau. With one photo postcard of the Fagus-Werk in Alfeld/Leine and one photo of an unidentified apartment complex.
Gross, Wilhelm (Austrian)
Summary: Designs for apartment houses probably on or around the Ringstrasse in Vienna, with shops on the ground floor. The collection also includes designs for municipal buildings, a country house and a bathing pavilion near Fiume. Styles range from Italianate to neo-Gothic and Jugendstil.
Summary: Designs by architect Zaha Hadid for the installation of the Russian Constructivism exhibition, "The Great Utopia," held at the Guggenheim in New York in 1992. Accompanied by 3 presentation boxes.
Summary: Photographs of drawings exhibited in 1987 at the Protetch Gallery, New York. One completed and three proposed projects are represented: the residence for the Irish Prime Minister, Dublin, 1979-1980 (competition entry, 27 images); Parc de La Villette, Paris, 1982-1983 (competition entry, 22 images); Grand Buildings, Trafalgar Square, London, 1985 (competition entry, 35 images); and Kurfürstendamm 70, Berlin, 1986-1987 (completed, 68 images). Also included are single drawings from three other completed projects: 59 Eaton Place, London (1981-2); The Peak, Hong Kong (1982-3); and IBA Housing, Block 2, Berlin (1986-7).
Harrison, Donald Dex 1909-1987 (English)
Summary: The MOD-X Building System records document the brief life of this product as its creators sought to find a niche for it in the post World War II efforts to industrialize building design and construction through prefabrication. Consisting primarily of legal and financial records and correspondence among the various stakeholders, as well as drawings and photographs, the archive provides insight into one of the most critical issues that the architectural profession faced during the period spanning the second half of the 1940s until well into the 1960s: how to design buildings that could be mass produced by big construction companies while at the same time maintaining sufficient artistic freedom to make the buildings interesting and attractive.The material preserved in the archive falls into two main groups: design records, and legal and financial records. The design records provide documentation of the system itself. Notes, sketches, architectural drawings, structural calculations and testing reports, and materials sourcing information, as well as photographs, trace the development of the MOD-X Building System. The photographs show multiple aspects of the system, from the prototype bungalow erected in Kidbrooke to marketing campaigns such as the MOD-X stand at the British Industries Fair or the display of a mocked-up hospital treatment room.The legal and financial records document the attempt to bring this new building system to market and turn it into a viable business enterprise. Documentation created by Dex Harrison, the firm of Harrison & Seel and the two companies formed specifically to implement the system, MOD-X Holdings Ltd. and Dex (Prefabrications) Ltd., comprises this section of the archive. Deeds of trust, account statements, corporate minutes, contracts and correspondence with patent agents, solicitors and accountants write the history and ultimate failure of this modular construction system.A third, very small group of materials belonging to Dex Harrison, but unrelated to the MOD-X system, completes the archive.
Hassenpflug, Gustav 1907-1977 (German architect)
Summary: Collection contains a minor portion of Hassenpflug’s correspondence, 1945-1963, manuscript writings on the Bauhaus (illustrated with 40 pictures), his architectural work in the Soviet Union and Soviet land use. Collection also contains some printed material, mostly relating to the Bauhaus and Hassenpflug's architectural work, ca. 100 photographs of wood and steel furniture and architectural drawings, partially designed in collaboration with Marcel Breuer and ca 60 drawings and blueprints of buildings and furniture designed by Hassenpflug, 1934-1935.Organization: I. Correspondence, 1945-1963, arranged in chronological order (folders 1-4); II. Manuscript writings (folders 5-7); III. Printed material (folders 8-9); IV. Photographs (box 2); V. Drawings and blueprints (870030* and 870030**)Series I. A minor portion of Hassenpflug's correspondence, 1945-1963, documents Hassenpflugs professional activities during the postwar period, his attempts to organize a Bauhaus exhibition, his teaching as a professor at the Bauhochschule in Weimar and later as the director of the Landeskunstschule Hamburg, his role in the reconstruction of Berlin and his efforts to establish new German contacts with the CIAM. Most notable are two letters from Marcel Breuer, 1947 June 24 and 1961 May 5, commenting on Breuer’s professional activities and personal life during his exile in America and on Hassenpflug's history of steel furniture. Among the other correspondents are: Fred Frobat, Max Bill, Gabriel Guevresian, Herbert Bayer, Siegfried Gideon, Martin Wagner, Embru-Werke (Switzerland), Gio Ponti and Marianne Brandt.Series II. A typescript copy of an expert opinion, "Konsultationen "uber grossblockige Typenwohnungen fur die Stadt Chabarowsk", rendered by Hassenpflug in 1932 on prefabricated housing for the town of Khabarovsk (folder 5). A postwar typescript copy of a land use study, 1932-1934, for the development of the southern shore of the Crimea (folder 6). A retrospective 14 page history of the Bauhaus, 1919-1933, illustrated with 40 photographs, with some miscellaneous material on the Bauhaus, most notably an accomanying lecture by Karl-Anton Frühauf on the same topic, excerpts from postwar letters by Joost Schmidt and Walter Gropius relating to a Baushaus exhibition and some annotated statements concerning Hassenpflug's education at the Bauhaus and Hannes Meyer's role as its director (folder 7).III. Printed material. Miscellaneous articles and newspaper clippings mostly related to the Bauhaus and Hassenpflug's architectural work. With the 1937 Nov. issue of the "Nachrichten der deutschen Linoleumwerke A.-G." with an article on Hassenpflugs's interior design of two showrooms of a textile company; a Soviet travel brochure titled "Der transsibirische Express" and the 1930 edition of N.A. Miliutin's book "Problema stroitel stva sotsialisticheskikh gorodov."IV. Photographs. Ca. 100 photographs, 1925-1953, of houses, furniture and architectural drawings by Hassenpflug, some of which were produced in collaboration with Marcel Breuer (box 2).V. Forty-five drawings and blueprints for the showrooms Rummeng, Berlin (870030* and 870030**); 27 blueprints of metal furniture designs for the Swiss company Embru (870030* and 870030**); 2 drawings for a house Worbes (870030*); 4 blueprints of wood furniture designs (870030*); 8 blueprints of steel furniture designs (870030*); 10 drawings and blueprints for a house Winsch (870030* and 870030**); one folder with 4 miscellaneous drawings and blueprints (870030*).
Summary: Collection consists of fifteen photographs of furniture and interiors designed by Marcel Breuer, partially in collaboration with Gustav Hassenpflug.
Summary: Color transparencies of drawings exhibited in 1988 at the Protetch Gallery, New York. Represented are seven drawings from the Retreat Masque (1981), nine large drawings and forty sketches for the Lancaster/Hanover Masque (1983), and two Protetch installation shots (1988).
Summary: Collection includes: a perspective drawing of a propylea for a stadium, 1919; aerial view of the island of Comacina with eight villas, 1925; view of an acropolis surmounted by a colonnade which fronts classical structures built beyond the edge on pedestal-like foundations; nine pages of views of the sites of Doric temples in Italy (six form a single panorama of Agrigento, two of Segesta, and one of Paestum); certificate of participation in the Brussels international exhibition of 1935, with a sketch on the verso of a monumental edifice (perhaps a funerary monument) which has a truncated obelisk as a steeple.
Hinkefuss, Karl Ernst 1881-1970 (German designer)
Summary: The papers of Carl Ernst Hinkefuss comprise original trade mark and poster designs, mounted graphic designs, print blocks, printed ephemera, photographs, postcards, correspondence, books, and related papers. Working both independently and with his business partner Wilhelm Deffke in the firm Wilhelmwerk, Carl Ernst Hinkefuss was among the early commercial graphic designers in the field of advertising, who specialized in trademark and logo design. Linked philosophically and aesthetically to the ideas of the German Werkbund and subsequently the Bauhaus, Hinkefuss developed a very simple style that sought to integrate the worlds of commerce and design. Hinkefuss and Deffke did not draw or paint their designs, but created images in the form of figurative, abstract, or typological cut-outs in colored paper mounted on a background sheet. These images were so visually powerful that they could either be reduced to a small logo or enlarged to a full-page brochure. Using these defining images, Hinkefuss created what we now call "brand identities," designing not only the stationery for businesses, but also the invoices, envelopes, packaging, and advertising.Materials relating to Hinkefuss's professional career comprise Series I of the archive. Examples of his graphic design work form the majority of the material and include assembled sample portfolios, hundreds of loose original designs, and letterpress print blocks. Aside from his commercial brand identity work, Hinkefuss also produced two significant publications for the world of graphic arts. He published and edited Qualität, a journal promoting industrial and graphic design, which became more and more modern, especially after Hinkefuss began working with a printing house in Dessau, shortly after the Bauhaus had moved to that city as well. Das Vogelparadies (1929), a modern children's book showing birds rendered in simple but bright, colorful forms on a black background, is often incorrectly associated with the Bauhaus. The archive includes a photocopy of the complete run of Qualität, as well as ephemera and proofs relating to this and other publications to which Hinkefuss contributed. Of particular interest are two wooden Bauhaus-style toys, reproductions of the pelican from Mein Vogelparadies, which served as exemplars and promotional items for the book. A small selection of professional correspondence, photographs of Hinkefuss's studio and displays of his work, and miscellaneous materials round out the series.A limited quantity of photographs and other personal material forms Series II. Of particular interest in this series is the documentation of Hinkefuss's trip to the United States in 1913. In part a vacation, the trip's professional research component is shown by the extensive series of postcards documenting the facilities of the Curtis Publishing Company of Philadelphia.
Summary: Architectural drawings, plans, photographs, correspondence, publications, clippings, and other personal effects relating to the career of architect Ernst Hochfeld in Hamburg, prior to his emigration in 1938. The papers include documentation of Hochfeld's work as Block and Hochfeld principal, as well as his collaborative efforts with the office of Karl Schneider. The architectural drawings and blueprints document a variety of projects including the commercial commission Deutschlandhaus, the cultural center Hamburger Kammerspiele, the Jewish Community Center, the Wandsbek apartment buildings project, single-family residences, as well as furniture design. The collection also includes a group of drawings by Hochfeld's peer Caspar Johann Ehmcke.
Summary: The collection contains material from several stages in Hofman's career and includes published articles, letters and postcards, catalogs, awards, curricula vitae, and material relating to conferences and exhibitions. The photo archive contains biographical photographs and photographs of set designs for the theater, costume designs for film and theater, realized sets and performances, decorative arts designs, and paintings. The collection also includes original architectural drawings and decorative arts designs.Hofman's views on contemporary trends in art and the theater are represented in a large number of articles published in several well-known avant-garde Czech periodicals, primarily of the 1910s and 1920s. An extensive collection of letters and postcards (ca. 360 items), many from prominent figures in the Czech avant-garde movement, provides a glimpse of the Czech intellectual debate surrounding art in the first decades of the 20th century. Correspondence includes 65 letters (1916-1918) from the writer Jan Bartoš, 2 letters from the poet Stanislav Neumann, 14 letters from Josef and Karel Čapek to Hofman recounting their observations of French art and culture. Other letters and postcards include 10 from the artist Pavel Janák, and 2 from the painter Bohumil Kubišta. Miroslav Ponc sent Hofman two original scores, dated 1961, 1962. Three postcards were sent from Paris by Otakar Kubín to Josef Čapek (ca. 1913). Several letters from Lee Simonson document Hofman's participation in an exhibition at the Museum of Modern Art, New York, 1934. Printed material and correspondence regarding exhibitions and Hofman's participation in the 4th Volta Conference, an international theater conference in Rome in 1934, attest to the international recognition Hofman received, primarily for his work in the decorative arts and the theater. Among the ca. 25 items relating to the conference, which was led by Pirandello, are photographs of the conferees and a signed photographic portrait of Pirandello. In addition to reviews, 7 posters (dating from ca. 1951-1984) document exhibitions of Hofman's designs.Hofman has been credited with an enormous contribution to Czech theater, in a career which spanned over forty years. His involvement in the theater is documented in this collection with several volumes of photographs of sets, costumes and production designs. One volume is devoted to costume designs for the 1951 film "Ana proletářka." Photographs also document Hofman's work in the decorative arts, including realized furniture projects and ceramic designs representative of his Cubo-expressionism. Original drawings for architectural sketches, entries for design competitions, and projects in the decorative arts are from the early years of Hofman's career. The photo archive also contains images of Hofman, his family and friends, including some well-known Czech artists and writers.
Summary: Set designs for Goethe's Faust, 1st alternative (15 chalk drawings on black paper in cardboard wrapper, with theater pamphlet); set designs for Goethe's Faust, 2nd alternative (14 gouache drawings in paper wrapper); costume designs for the play David (44 pencil drawings and 1 handwritten note folded in wrapper); set designs for the play Filip II (3 chalk drawings on folded black paper, and 1 pencil drawing on verso of form); and 11 photocopies of correspondence and plans.
Summary: Collection includes 34 designs for the sets of Faust by Goethe, executed in blue crayon in 1928. The drawings are captioned on the mats and housed in a portfolio. Also included are 13 captioned designs by Hofman for the sets of the play Hippodamie by Fibich and Vrchlicky, executed in gouache on black paper from 1953-1955. Accompanying these are 12 costume designs and 2 floorplans, also for the play Hippodamie.
Summary: A broad range of manuscript writings drawn from Hoffmann's personal papers, 1898-1938 but especially strong in his writings for public presentations, 1924-1932. The material documents the concepts Hoffmann developed in dealing with the ". . . conflicting impulses of his time: tradition and innovation, conservatism and progress, the countryside and the city, craftsmanship and industrialization, decoration and functionalism" (Jane Kallir, 1986). Furthermore it shows Hoffmann's intense involvement in the fate of the Wiener Werkstätte and the Kunstgewerbeschule, Vienna, his interest in art and architectural education and his involvement in the arts and crafts movement. The collection also includes a minor portion of the architect's correspondence and about 195 photographs of objects designed by Hoffmann and other members of the Wiener Werkstätte after 1919, some printed material and ephemera and a single set of architectural drawings. After Hoffmann's death these papers passed to his friend and biographer, Leopold Wolfgang Rochowanski. The rare book dealer Oscar Schreyer wrote English summaries for many of the letters and manuscripts in this archive; these are filed with the originals.Series I. Letters from Hoffman, 1925-1938, arranged chronologically. A minor portion of the letters written by Hoffmann, mostly undated and of an official nature. The letters reflect Hoffmann's fundamental differences with the Administration of the Wiener Werkstätte after 1928. They also offer information about Hoffmann's role in the Oesterreische Werkbund and his reasons for leaving.Series II. Letters received, 1902-1940, arranged in chronological order. Twenty-four postcards and letters from friends, collegues, students and unknown correspondents, all personal and informal in nature. Notable is a letter from Jozsef Vago, 1929 Nov. 16, discussing the Genfer Voelkerbundpalais project. Among the other correspondents are Dagobert Peche, Ernesto De Fiori, Alfred Roller, Adolph Vetter, and Martin Dülfer.Series III. Manuscripts by Hoffmann, 1895-1938, arranged chronologically by subject. Sixty-six manuscripts, mostly unpublished, some annotated, are drafts of lectures, memoranda and articles. English synopses prepared by Oscar Schreyer accompany most of them. Subjects include furniture and interior design, architecture, including individual projects, art education and the applied arts, the evolution of the Wiener Werkstätte and its roots in the English arts and crafts movement, the Kunstgewerbeschule, the Akademie in Vienna and the Oesterreichische Werkbund.Series IV. Printed matter, 1919-1945, includes newspaper clippings of Hoffmann's articles, 1931- ca. 1945, and eight items about Hoffmann, ca. 1919-1934.Series V. Architectural drawings, photographs and graphic arts comprise four architectural drawings, with the Wiener Werkstätte stamp, for a casino with adjacent house in Kapfenburg, Austria; ca. 195 photographs of functional and decorative objects designed by Werkstätte students, including Gudrun Baudisch, Mathilde Flögl, Dagobert Peche, Michael Powolny, Vally Wieselthier, and others. Also, portraits of Hoffmann and other Wiener Werkstätte artists; three photographs of architectural drawings, and one color lithograph by an unknown artist.Series VI. Ephemera, 1909-1950, consists of 12 items which refer to Hoffmann, objects produced at the Wiener Werkstätte, and the role of the Werkstätte in Viennese cultural life. Also includes invoices and receipts, 1928-1930, which document the business relationship between the Wiener Werkstätte and the firm of Franz Untergerger.
Summary: Drawings and sketches for the Los Angeles Disney Concert Hall competition. A sketchbook contains 60 pages of drawings for the Disney Concert Hall project as well as 22 pages of drawings for the Jewish Memorial in Frankfurt.
Summary: A set of 24 drawings by Douglas Honnold and George Vernon Russell, architects for the residence of Mr. and Mrs. Harold C. Ramser in Bel Air, California. The set consists of 14 blueprints of the house (plans, elevations and details), plus two prints showing the landscaping. There are also five prints showing plot and topographic plans, and three original drawings for the library and a sound cabinet. Also included are a Dotken Engineering contract and business card.
Summary: Photographs of drawings exhibited at the Protetch Gallery, New York. The projects represented are: Museum of Contemporary Art, Los Angeles, California (1983-1984; 58 items); Palladium, New York City (1983-1985; 14 items); Sports Hall for the 1992 Olympics, Barcelona, Spain (1983-1984; 36 items); Phoenix Municipal Government Center, Phoenix, Arizona (competition entry, 1985; 21 items); Tokyo City Hall, Tokyo, Japan (competition entry, 1985-1986; 21 items); Brooklyn Museum, Brooklyn, New York (1986; 41 items); and misc. (10 items).
Summary: One drawing (1986) with two interior views of a competition proposal for the Tokyo City Hall. Another drawing (ca. 1983) with two sections of the sports hall for the 1992 Olympic Games at Barcelona.
Summary: The Franklin D. Israel papers detail the short but substantial career of the prominent Los Angeles-based architect and his design firm, encompassing design processes while also providing insight into the establishment of firms and modern architectural business practice. The archive is an important resource for researchers looking to study in greater detail the developments in California architecture after modernism had fallen out of fashion.Series I contains project drawings and records, with the bulk of the material comprised of architectural projects from the late-1980s to the mid-1990s. Original drawings, prints, models, photographs, and extensive documentation and correspondence files form the core of this series. Most of Israel's creative output is represented here, from private residences such as the Goldberg/Bean House (Hollywood, 1991) and the Drager House (Berkeley, CA, 1992), both of which received "Record Houses" awards, to the business offices of film and record production companies such as Propaganda Films (Hollywood, 1988) and Virgin Records (Beverly Hills, 1991). Other notable projects include the art pavilion for Frederick Weisman (Beverly Hills, 1991), built to house one of the largest private collections of contemporary art in the world. Instances of Israel's non-architectural design work and consulting, including furniture and interior design, are also represented.Series II documents the professional career of Frank Israel. The bulk of this series includes extensive administrative and financial documentation of Israel's design firm,Franklin D. Israel Design Associates (FDIDA), and materials related to exhibitions, articles, photographs, and publication files, including production materials for larger publications such as Rizzoli International's 1992 monograph surveying the work of Frank Israel. Documentation of other professional activities, such as service on competition juries, and lectures are also included along with files relating to Israel's education and teaching career, awards and honors, articles and ephemera written by Frank Israel, and general correspondence.Series III, a small series of personal papers, completes the archive.
see Le Corbusier
Summary: Papers of the American architect Philip Johnson document his early and later career. Approximately 160 built and unrealized designs are documented with photographs, and some correspondence and clippings about his work. Johnson's designs for his New Canaan estate, including the Glass House, are especially well represented.Nearly half the collection is comprised of photographs - of Johnson's drawings, his buildings, his friends and colleagues, and Johnson himself. The other half consists of clippings and other printed materials about Johnson and his work, correspondence, legal documents and manuscripts (by Johnson), including a few items related to Johnson's right-wing politics in the 1930s. Included in the correspondence are letters Johnson wrote to his mother and family, 1925-1944. Videotaped interviews with Johnson, awards, honorary degrees, and gifts received by Johnson are among the collected items.Although the collection spans nearly a century, there are few items, and no documentation of designs, for the years 1967-1992, the period in which Johnson designed numerous high rise buildings with John Burgee.
Summary: A collection of architectural materials: drawings, study models, photographs, slides, negatives, brochures and miscellaneous papers. The bulk of the collection relates to the Franklin Square building, Washington, D.C., a project by John Burgee Associates with Philip Johnson. The collection also includes materials relating to the Peter Lewis guesthouse, a project by the office of Philip Johnson. The Lewis guesthouse was an addition (never realized) to a house designed (redesigned and ultimately unrealized) by Frank Gehry. In addition, there are seven models for other buildings designed by John Burgee Associates with Philip Johnson, as well as 21 brochures regarding various projects of the firm.
Summary: The drawings, notebooks and other documents for the Hodgson House, built right across the street from Philip Johnson's Glass House, provide insight into the architect's design process.
Summary: The albums document the family of architect Philip Johnson and Johnson's early life. Included throughout the albums are views of the homes in which Johnson grew up; these well-designed, expensive homes undoubtedly helped form his sense of space and design. One album is devoted to Townsend Farms, the Johnson family summer home. There are also many photographs of Johnson's early travels, including an album of a European trip in the 1930s taken with his sister Theodate Johnson and Alfred Barr. Among the albums is one scrapbook containing postcards, menus, and other ephemera in addition to photographs. The albums contain both amateur snapshots made by various members of the Johnson family as well as professional portraits of family members and family residences.
Summary: A group of objects related to Philip Johnson's design for the building known as Habitable sculpture. The group includes: two wooden sculptures in the style of architectural models; a set of ten screen prints depicting the building with the slogan Be a friend to art, say yes to Philip Johnson's Habitable sculpture; and one video recording with the label title A conversation with Philip Johnson, versions 1 & 2.
Summary: Selected audiovisual material (items C1, C2a-e, and V7) from the Philip Johnson papers.
Summary: Recordings of the Berkeley Centennial Lecture given by Louis Kahn in the Spring of 1968, and a seminar following. In the lecture, Kahn discusses his theory of architecture, using examples from history, and includes full discussion of his major projects.Lecture transcript (18 p.) available.
Summary: The Ray Kappe papers offer comprehensive coverage of his long and varied career, which began in the 1950s and encompassed roles as architect, planner, and educator. The archive highlights Kappe's role in furthering the strong California tradition of designing buildings in tune with nature, of experimenting with prefabricated building components and modular planning, and of addressing such issues as sustainability. The collection is therefore a valuable resource for studying important developments in post-war California modernism, including the development of what is today known as "green" architecture. The collection is also a useful resource for studying the recent history of architectural education, as Kappe directed programs at both California Polytechnic University, Pomona and Southern California Institute of Architecture (SCI-Arc), one of the country's most influential and experimental schools of architecture.The project records in Series I form the core of the collection. Representing the first 50 years of Kappe's career, the series encompasses the majority of the architect's oeuvre, although it does not contain more recent work initiated or completed after 2003, such as the energy-efficient residences designed for Steve Glenn's Living Homes. Comprising over 300 executed and unexecuted projects ranging from large and small residences to office buildings and parks, the archive holds drawings and models, in addition to sketches, photographs, and project files, and it provides documentation on major projects from the early, middle, and later phases of Kappe's career. Included, for instance, is the groundbreaking house Kappe designed for his own family in the Pacific Palisades area of Los Angeles in 1965, which heralded the architect's expert use of post-and-beam construction and an elevated design system that allowed the building to nestle sensitively on its awkward hillside site. Represented, too, is the 1977 Borghei House (Santa Monica Canyon) in which Kappe responded to new building code restrictions by using concrete-block construction and smaller window apertures, and the 1993 Shapiro House (Santa Monica Canyon) that saw Kappe experimenting with steel frames and poured concrete while still emphasizing his core principles of uniting interior and exterior spaces and foregrounding energy efficiency and modularity. A particularly interesting portion of the archive consists of planning projects, such as those prepared for the cities of Inglewood and Compton, that highlight Kappe's commitment to revitalizing urban neighborhoods and commercial districts.The two subsequent series document other facets of Kappe's professional life. Series II comprises his teaching materials and administrative records during his tenure at Cal Poly Pomona and SCI-Arc. This documentation reveals Kappe's interest in redefining architectural education through experimental curriculum and practice. Series III is composed of all other materials, aside from the individual project files, relating to Kappe's professional affiliations and role as a leading Southern California architect and planner. He maintained ample records of his decades-long involvement with the American Institute of Architects and with the Los Angeles Goals Program, in addition to preserving documentation of others citing his work in a variety of media. The series also highlights his interest in energy conservation, urban design, and affordable housing.
Summary: The collection is principally comprised of letters from surrealists in Paris in the years immediately following the Second World War, and includes extended reportage and commentary relating to Breton's circle and to their publications and exhibitions. Kiesler visited and exhibited in Paris in 1947 and 1948 and collaborated at this time with Breton on his "Ode a Charler Fourier."Series I. In French and German from Paris. The Czech painters discuss the planning and publication of the surrealist magazine NEON (first issued in Jan 1948) and report extensively on the intellectual atmosphere of Paris and the activities of the surrealist group, especially those associated with NEON, who include Toyen (Marie Cerminova), Jacques Herold, Jindrich Styrsky and Andre Breton. Heisler comments, often at length, on avant-garde publications, movements, events and personalities, including: the New York journal Instead; Henri Paris of and his "Quatre Vents"; Zervos and the Cahiers d'Art; Jean-Paul Sartre and the vogue for existentialism; and Breton's friends and enemies, including Alberto Giacometti and Charles Duit. There are shorter references to an exhibition of Antoni Tapies, Marcel Duchamp, Jean Arp, Karel Teige, and Roberto Matta.Series II. Letters from Marcel Jean, 1974-1949, 1958 (15 items). Thirteen letters (in French and English) from Paris and Budapest, dated 1947 Nov-1949 June, reporting at length on surrealist activities in Paris; describing the intellectual atmosphere in Czechsolovakia and Hungary during a visit in 1948; and describing arrangements for an exhibition of his work at the Artist's Gallery in New York. Those who figure most prominently are Matta, Breton, Tanguy, and the poet Malcolm de Chazal. And there is some discussion of Heisler and his NEON magazine. Perhaps most significant is an account of the "Matta affair," with reflections on the suicide in 1949 of Arshile Gorky and on Breton's attempts to moralize the event for his circle. With two brief letters of 1958, about visits to New York.Series III. Letters from Jean Arp (signed Hans), and Sophie Taeuber-Arp, 1938-1962 (12 items). Series includes a letter from Sophie Taeuber-Arp, 1938 Jan 23, describing her magazine Plastique, its purpose and its contributors, and with verse of Jean Arp and herself; eight letters from Jean Arp to Kiesler and his wife, from Paris and Basel, 1948 Jan-Oct, with detailed plans and arrangements for publications and exhibitions of Arp's and Kiesler's works and writings in New York, Paris and Switzerland, and with news; and three long personal letters from Marguerite Hagenbach Arp, 1957-1962, from Paris and Basel, primarily about Jean (Hans) Arp. These letters concern his health, his exhibitions, his poetry and the excitement and problems involved with his growing fame.Series IV. Miscellaneous letters received, 1932-1961 (56 items). Primarily single letters or short files of personal, social and incidental business notes from artists, curators and writers in New York and Paris. Arranged alphabetically. Letters of some note include four from Katherine S. Dreier (1937-1949) reporting Duchamp's and Kandinsky's comments on Kiesler's article on "the Large Glass," three from Fredi B.[?] in Paris (1943-1949) with references to "NEON," "Instead," and Kiesler's circle; a 1939 letter from R. Buckminster Fuller, with a long critique of the "Laboratory School of Design" and the philosophy of the Bauhaus; a letter of Amedee Ozenfant, 1939, with reflections on his education, the conditions of painting in America and the New Bauhaus of Moholy-Nagy; a friendly postcard (1932 Dec 21), and a letter from Piet Mondrian (1937) on selections of his work for a N.Y. show; and 13 letters from Hans Richter (1941-1949) among which he describes his difficulties establishing himself in New York in 1941.The series also includes seven letters, 1947 Oct.-1948 March from Christian and Yvonne Zervos relating to surrealist exhibitions at Galerie Maeght and to the affairs of Cahiers d'Art. With an apparently unrelated list of works loaned by Julien Levy in 1932 to the Harvard Society of Contemporary Art. Series also includes letters from Alexandre Alexandre, Pierre Boulez, Serge Chermayeff, Jasper Johns, William Maywald, Sibyl Noholy-Magy, Henri Parisot, Philip Pavia, Gabrielle Buffet-Picabia, Xanti Schawinsky, Anthony Smith and Dorthea Tanning (with a note from Max Ernst).
Summary: The Pierre Koenig papers and drawings contain the archive of this Los Angeles architect best-known for his work in steel and participation in the Case Study House Program. Consisting of drawings, photographs and slides, documents, client correspondence, and three models, the archive provides in-depth information about Koenig's 50-year career. The archive is an important resource for the study of Southern California Modernism, as well as for the study of pre-fabrication in housing in the United States.Records and drawings relating to Pierre Koenig's architectural projects form Series I, the core of the archive. With over 2,000 original and reproduction drawings, the archive is very complete. More than eighty executed and unexecuted building projects, including all of Koenig's major houses, such as Case Study Houses #21 and #22, the Johnson House in Carmel Valley, CA (1962), the Iwata House in Monterey Park, CA (1963), the Gantert House in Los Angeles (1983), and the Schwartz House in Santa Monica (1996), are represented in the archive. A particularly interesting project is the Chemehuevi Indian Reservation Planning Program, sponsored by the United States Department of Housing and Urban Development. Koenig and his USC students designed pre-fabricated steel homes for the reservation located near Havasu Lake in San Bernardino County, California, but the project was never built.The two subsequent series record other aspects of Koenig's professional life. Series II is comprised of Koenig's teaching materials and documentation of his administrative role at the University of Southern California, School of Architecture. Koenig took his teaching very seriously. He was very conscious of the fact that he was training the next generation of architects and proud of the fact that he had supervised over 100 student research projects investigating the interaction of structures and the natural environment. Series III is comprised of all the other materials, aside from the individual project files, relating to Koenig's role as an architect, such as his office files and reference files. Also included here is a dossier of Koenig's work. Koenig was very active in interpreting and publicizing his work and he also maintained documentation of others citing his work in a variety of media from clippings to exhibitions to videos.Series IV is comprised of Pierre Koenig's personal papers. His college class projects trace Koenig's emerging development as an architect, and the extensive documentation of his early military service helps place his personal development. The final series of the archive, compiled after Koenig's death in 2004, documents the continuing legacy of his life and work.
Summary: Video recordings from the Pierre Koenig papers and drawings. All videos have been reformatted, except for a few that were damaged or contained duplicated content.
Summary: Two groups of color architectural presentation drawings of experimental housing designs. One group consists of six sheets, each of which has a set of drawings for a housing development at Magdeburg (the "garden city reform" project). The second group of drawings is of two suburban villas, signed and dated 1931. Altogether, the eight sheets contain eight perspective studies, thirteen plans, and seventeen elevations.
Summary: The William Krisel papers detail the prolific career of one of Southern California's most successful architects. The archive emphasizes Krisel's important role as an architect for the masses, bringing affordable, well-designed modern residences and landscapes to middle class families throughout the region, including Los Angeles, San Diego, and the Coachella Valley. It also documents his influence in a range of building types, including custom homes, tract houses, apartments, condominiums, and commercial, industrial and institutional buildings. The archive is a significant resource for the study of mass-produced housing and mid-century aesthetics in Southern California, particularly in light of the recent resurgence of interest in Krisel's work among homeowners.The project drawings and records in Series I form the core of the archive. Drawings, documentation and photographs, including images by Julius Shulman, representing almost 300 projects form a cross-section of Krisel's work from the 1950s through the 1970s. The series demonstrates Krisel's commitment to collaborating with developers throughout the region in order to produce great quantities of high quality residences. Included are materials from Corbin Palms (Woodland Hills, 1953-1955), Krisel and Palmer's first large project for George Alexander, which featured four basic house plans with different elevations, color schemes, landscaping and siting, as well as materials for the Sandpiper Condominiums, a complex of pinwheel-shaped buildings constructed in Palm Desert and Indian Wells between 1958 and 1966 by two separate developers. The series also includes a large number of commercial and industrial projects, such as industrial parks, shopping centers, medical and office buildings, and hotels. Of particular note is the Ocotillo Lodge in Palm Springs (1955-1957), which he designed for Alexander Construction and Joseph Dunas as a destination resort to attract potential homeowners to the Coachella Valley.Two small series complete the archive. Series II is comprised of documentation relating to the broader aspects of Krisel's career as an architect, including correspondence, awards and diplomas, general press coverage and documentation of the various architectural firms with which he worked. A very small third series includes personal papers such as military honors, family photographs and portraits of Krisel.
Summary: The videorecording captures a conversation between architect William Krisel and architectural historian Wim de Wit regarding the documentary film William Krisel, Architect, directed by Jake Gorst, which explores Krisel's life and work.
Summary: The John Lautner papers contain the complete archive of this Southern California architect who became famous for such innovative structures as Chemosphere (the Malin House) and Silvertop (the Reiner House). The archive is an important resource for the study of Southern California modernism in all its diverse aspects. The drawings detailing the structural engineering that enabled Lautner to create his sculpturally innovative houses will be of particular interest to historians of architecture and science.Materials relating to John Lautner's individual architectural projects comprise Series I, the core of the archive. Included in this series are approximately 10,000 architectural drawings, numerous photographs and slides of projects, client files and correspondence and a small number of architectural models. They represent circa 300 projects, residential and commercial, both built and unbuilt, spanning the entire range of Lautner's career, from photographs of his earliest design for a temporary shelter at Taliesin West in 1937 to the drawings for projects he was working on at the time of his death in 1994. Also included are some later materials from the continuation of those projects by his successors.Series II, a small series of professional papers, completes the archive. These professional papers include general correspondence, honors and awards, documentation of exhibitions, and publications.
Summary: The slides, taken by the architect John Lautner during his extensive world travels, represent a visual record equivalent to the more usual sketchbook used by architects to record their study notes. Cities and countries depicted include Denmark; Finland, Norway; Japan (Kyoto and Tokyo); Germany (Berlin, Stuttgart), Italy (Rome, Florence); Budapest, Hungary; Prague, Czechoslovakia; Paris, France; Rio de Janeiro, Brazil; Bahrain; Egypt (Cairo, Luxor); Spain (Granada, Cordova, Barcelona); Tunisia (Carthage and Tunis); and Bangkok, Thailand. Domestic locales include New York City, Hawaii, Alaska, and Seattle.Also included are a small number of slides that Lautner purchased from sites such as the Louvre, Paris; Palermo and Florence, Italy; the Frederiksborg Palace, Denmark; and the Helsinki Temppeliaukio Church, Finland.
Summary: A model for an unbuilt design by architect John Lautner for a beach house in Malibu. Made out of foam-core, cardboard, paper, plastic and metal, the model shows a small but innovative structure whose entire roof can turn on a pivot away from the house.
Summary: The collection is comprised of ten drawings by John Lautner for three projects commissioned by Dr. and Mrs. Paul Sheats: the Sheats Apartments (L'Horizon), the Sheats Residence, and an unbuilt Sheats Apartments. The drawings are diazotype prints with substantial additions in colored pencil.
Le Bas, Hippolyte 1782-1867 (French architect)
Summary: Collection consists of six letters to his teacher Charles Percier, and letters received, from Percier, Vaudoyer (another teacher), and the architects Francois Debret, Leon Dufourny and Eugene Heim. Seven additional letters (1821-1864) are addressed to various correspondents including Gaut, Delafontaine, Prestas, and Heim. The letters largely reveal the influence of his teachers and his years of study in Rome. With an incomplete form letter from the Academie royale d'architecture, a "Plan a rez-de-chaussee de la petite maison d'Auteuil," and a journal (10 p.) with expenses noted, of a journey to Milan from Paris, 1811 April 25-.
Notes: Mss.Seven additional letters (1821-1864), are to various correspondents including Gaut, Delafontaine, Prestas, and Heim.
Summary: Nine preliminary designs for Notre Dame de Lorette (Paris), ca. 1823, with a plan for the Prison de la Petite Roquette, 1825. Collection also includes a plan of the quarters of the Roman Praetorian guards, with an explanatory note addressed to the Minister of War.
Summary: A two page letter dated Jan. 23rd to an unidentified friend concerning: discussion with Alfred Barr regarding the sale of a 1920 Corbusier painting to the Museum of Modern Art in New York, conflicts over the 1939 Expo in Liège, recommendation by Laugier to a friend to purchase drawings of Louis Soutter.
Summary: Collection contains manuscripts for lectures, including radio talks, published and unpublished writings, including a film project. Sketches relate to writings on modern architecture, urbanism, and Algers. Correspondence comprises letters received from Jacques Duboin (1 letter, 1950), Bauchant (1 letter, 1924) and Amédée Ozenfant (7 letters, 1918, 1921-1922). Seven letters and 2 postcards were sent by Le Corbusier to others (ca. 1925-1926). Fourteen black-and-white photographs document his architectural designs.Manuscripts and sketches comprise, in whole or part, ca. 27 works, some of which are published titles: Aircraft, Poésie sur Alger, Précisions sur un état présent de l'architecture de de l'urbanisme, Manière de penser l'urbanisme, and La ville radieuse. Some pages of manuscripts and letters sent are written on the letterhead of Jeanneret architects, or L'Esprit Nouveau.
Summary: Includes correspondence, one ink drawing, one photograph of Le Corbusier, a mock-up for a brochure, a typescript German translation of "Unités d'habitation de grandeur conforme", and a typescript of "Construction d'une Unité d'habitation Le Corbusier à Berlin".
Summary:Photocopies of papers held at the Fondation Le Corbusier, Paris. Also included are ca. 20 letters in carbon copy, duplicates of originals held by the Fondation.
Summary: Material originating from the archives of Guillaume Jullian de la Fuente relating to Le Corbusier's involvement with CIAM (1928-1959), the competition for the League of Nations in Genève (1927-1929), and other related matters. Includes: letters, notes, handbills, one poster manifesto, CIAM documents (such as programs, minutes, addresses).
Summary: One of Corbusier's last projects, the Heidi Weber Pavilion (also called the Maison de l'homme) was built in Zurich for the art gallery owner, Heidi Weber, to house a small collection of Corbusiana. The pavilion is situated on city-owned land in Zurichhorn Park and now functions as the Centre Le Corbusier.The collection consists of five items: three finished drawings, dated 25 July 1964 and signed by Le Corbusier and his chief designer, Jose Oubrerie, show the pavilion as a series of spaces under a steel-truss umbrella roof; two sketches are dated 20 October 1961, and illustrate Le Corbusier's intent to design the functional requirements to take up as little of the open space as possible. The drawings vividly indicate the bright-colored porcelain enamel panels juxtaposed with plate glass in the facade, and reflect Corbusier's fascination with Cubist assemblage and collage.
Summary: A letter (2 leaves) relating to the display of the plans for the Hôtel de Ville in Amsterdam sent to K. van Hoffen and signed by Le Corbusier, a photocopy of part of the letter, a photograph of Le Corbusier with van Hoffen at an airport in Amsterdam, 1939, and a clipped page from Théco-verre with a table of contents for v.1 no.2 January 1935 on one side, and a photograph portrait of Le Corbusier on the other.
Summary: Designed by Le Corbusier and his collaborator Iannis Xenakis, the Philips Pavilion was based on the idea of L.C. Kalff. There remains some question as to whether Xenakis or Le Corbusier should receive credit for the design of the building. The pavilion, which was ultimately declared unstable and destroyed, was designed as a shell structure composed entirely of prestressed concrete in the form of hyperbolic paraboloids individually cast to fit a complex framework of steel cables. The expressed object of the pavilion was to demonstrate the capabilities of modern technology in engineering, electro-acoustics, electronics, and automatic control techniques. The building was designed and equipped for an automatic performance of a spectacle in light and sound entitled "le poème electronique" which was conceived and written by Le Corbusier and included the music of Edgard Varèse. The collection includes correspondence, architectural drawings, photographs, color slides, painted glass plates and a script for "le poème electronique."Series I. Correspondence, 1955-1958 (ca. 190 items): Approximately 190 items including copies of outgoing correspondence from Kalff and other Philips's executives, and incoming correspondence primarily from Xenakis and Le Corbusier. The letters include initial conceptions of the project, progress reports and statements of expenses, and contain some discussion of technical matters. Other correspondents include Edgard Varèse, R. van Pevenage, Paul Heyden, R. d'Aboville, J. Pugliesi-Conti, Evert Cornelis, Ch. Spaens, E.B.W. Schuitema and film producer Philippe Agostini. In chronological order.Series II. Architectural drawings and site plans (8 items): A numbered series of pen and ink conceptual sketches probably by Xenakis, illustrating the basic concepts for the pavilion's design, with a plan, elevations, and perspective views, and two blueprints with measured drawings of plans with an elevation (pencil notes and color added).Series III. Script and notes for "le poème electronique" (ca. 20 items): A 140 p. mimeographed script for the automatic 8-10 min. performance, with annotations and watercolor added by Jean Petit. With copies of 18 sheets of notes relating to the performance. (microfilm available).Series IV. Photographs, 1956-1958 (163 items): One hundred sixty-three construction and project photographs which document the maquettes, construction and scaffolding, casting of the concrete shells on open sand-bed molds, prestressing wires, laying of the foundation, and the exterior of the completed building. Also includes photographs of Le Corbusier, Xenakis and Kalff.Series V. Painted glass plates and glass slides (33 items): Eight hand-painted fan-shaped glass plates for use in a rotary disk projector and 18 handpainted rectangular glass plates; also seven medium format color and black-and-white slides of the interior of the pavilion and of the performance.
Summary: Lecture notes dated 1945, some of which include sketches, and letters written by Le Corbusier to Helena Simkowitch, Marguerite Tjader Harris and her son, and 1 letter to Felix Man.Series I. Lecture notes: 8 p. of notes for a lecture given "7 mars 45 [at the] Theatre Sarah Bern[h]ardt," on post-war reconstruction. Includes rough sketches of a cathedral, a cityscape, etc., colored with conte. Pages are numbered 1-5, 7-9.Series II. Letters: Twenty letters to Helena Simkowitch (1947-1961) written from New York, Paris, Bogota, and Chandigarh, with accompanying sketches and notes, providing extensive commentary on the design of the United Nations building and on the involvement of Wallace K. Harrison and Robert Moses. Four letters to Marguerite Tjader Harris and her son (1959-1963) relate to the design of the convent of La Tourette and other projects, including the Philips' Pavilion at the Brussels exhibition and the U. N. and UNESCO buildings. There is also some comment on his paintings. Also included are a letter to Felix Man (1951) concerning the publication of Corbusier's writings and drawings (with 7 p. of sketches suggesting the layout of the book) and a letter to an unidentified woman (1943 May 19) mentioning Raymond Christoflour and discussing the skyscrapers of New York City.
Summary: Ten conceptual sketches, in ink with some pencil annotations, for Chandigarh, Ronchamp chapel, Algiers, studies of urbanism and industrialization, with a sketch of Venice.Sketches include: Le Palais de Justice, Chandigarh (two elevations and a perspective); another Chandigarh structure with the bird-like hand as centerpiece; detail drawing of the hand; Ronchamp (two elevations, 1950); L'industrie en vallee meurt - les industries sont mal placees (diagramatic sketch marked Fig. 5 & Fig. 6); la Porte de la Liberté; study for Algiers; Urbanisme (two schematic perspectives and plans, 1935 and 1938); sketch of Venice showing the Piazza San Marco.
Lebret, Paul 1875-1933 (French)
Summary: Student drawings for a medical school, an entertainment palace and other buildings characterized by orthogonal plans of vast expanse after the manner of Roman baths. A few designs for wall treatments, monuments, staircases, construction details, etc. are included.With four printed requirements set by the Ecole for architectural projects from 1899 to 1902, including two by Paul Gaudet.
Li, Hua (Chinese architect and engineer, active in America)
Summary: Architectural papers and photographic documentation from the estate of architect Hua Li. Collection includes architectural drawings (6) and blueprints (231) of design projects, and ca. 14 linear ft. of photographic documentation of buildings and sites around the world (photographs, transparencies, slides, negatives). Also included are personal journals (primarily documenting his travel), sketchbooks and books.The architectural drawings and blueprints document buildings designed in Massachusetts (including the New Ridge Field School, 1955 and the New Brook Water Elementary School, 1956) and the Virgin Islands. Some of Hua Li's work in the Virgin Islands, primarily hospitals and schools designed in the 1950s, was done for the U.S. Department of the Interior.Three scrapbooks contain project assignments (Fall Term 1948 and Spring Term 1949) by Hua Li when he was a student at MIT. The scrapbooks include sketches and drawings, and study photographs of models and site plans.
Summary: The Libeskind papers, 1970-1992, are composed of architectural drawings, notebooks, sketches, models, letters, press clippings, transparencies and videotapes which document Libeskind's design for the Jewish Museum extension to the Berlin Museum (Jüdisches Museum im Berlin Museum), 1988-1992. Libeskind called this project Between the Lines. The archive also contains 14 other design projects (1970-1991), materials related to Libeskind's teaching at the Cranbrook Academy of Art (1980-1984), manuscripts for publications and lectures, and photographs and transparencies related to these activities.Libeskind's designs for City Edge, Berlin (1986-1987) and Marking the City Boundaries, Groningen (1989-1991) are fairly well-documented. Most of the other projects, however, are represented only partially in this archive. The other projects are: Micromegas (1979), (Four) Ages of Space (1982), Chamberworks (1983), Collotypes (1983), Venice Biennale books (1985), Villa on Lützowplatz, Berlin (1991), Line of Fire, Geneva (1988), Fort Asperen, Netherlands (1989), Yatai, Japan (1989), Folly, Osaka, Japan (1989-1990), Über den Linden, Berlin (1990), Museum of Edinburgh, Scotland (1991). Designs by Libeskind's students at Cranbrook are represented in photographs and transparencies (ca. 3.5 linear ft.).
Summary: A portion of the papers documenting the late period of Adolf Loos' work, 1930-1932, as reflected in the papers of his assistant Kurt Unger. The papers include correspondence, drawings, manuscripts, miscellaneous printed material, and portraits of Loos.Correspondence with Unger (in part dictated to his wife Claire Loos) concerns several projects and project specifications. Correspondence between Unger and the glass manufacturer/distributor Lobmeyr, discusses the production of glassware designed by Loos. The collection includes 21 drawings and blueprints of houses, with two letters of specification for the "Fleischer" house, Haifa Israel, and drawings and blueprints of the glassware; a typescript translation of Adolf Loos' "Der Sattlermeister"; miscellaneous printed material; one pencil sketch of Loos; and one portrait photo.Organization: I. Correspondence, 1918-1934, arranged in chronological order (folders 1-3); II. Correspondence with J. & L. Lobmeyr, 1931-1956, arranged in chronological order (folder 4); III. Translation of "Sattlermeister (folder 5); IV. Miscellaneous printed materials (folder 6); V. Project plans and drawings Unger/Loos: house "Jordan," Bruenn 1931 (880409*, folder 7); VI. Project plans and drawings Unger/Loos: house "Fleischner," Haifa 1931 (880409*, folder 8); VII. Project plans and drawings Unger/Loos: apartment "Leopold Eisner," (?) Pilsen 1930 (880409*, folder 9); VIII. Project plans and drawings Loos/Lobmeyr: glassware, Vienna 1931-1932 (880409*, folder 10); IX. Photoprint and pencil sketch, undated (folder 11); X. Presentation copies of Adolf Loos' books "Ins Leere gesprochen: 1897-1900," 1921 and "Trotzdem: 1900-1930," 1931.Series I. Correspondence, 1918-1934, arranged in chronological order (folders 1-3). The correspondence is mostly of a professional nature and contains instructions and specifications for various projects in progress, most notably the remodeling and interior decoration of the medical offices of Dr. Teichner, Pilsen 1931, and the project house "Dr. Fleischner," Haifa Israel 1931; with a postcard from Peter Altenberg to Loos, 1918; a letter to Werner Hegemann discussing the edition of a book about Loos' work, 1930 May 29; a letter from Unger to the journal "Form," discussing his views on modern engineering, 1930 April 22, and a letter, 1934 Feb. 2, from Claire Loos requesting material on Loos from Unger on behalf of Dr. Muenz.Series II. Correspondence with J. & L. Lobmeyr, arranged in chronological order, 1931-1956 (folder 4). This series, mostly of letters received prior to 1933, reflects the process of design specification and manufacturing of the Loos glass service. Unger as the representative of Loos, whose health is deteriorating at the time, criticises in a letter of 1932 April 19, the slightly conical shape of the glasses, while Lobmeyr defends it in his reply, 1932 April 23, arguing that an absolutely cylindric form, as envisioned by Loos, would prove to be ugly in glass and hard to sell; with two pricelists, 1932 Nov. 16 and 1956 Dec. 12.Series III. Translation of "Der Sattlermeister" (folder 5). An English translation manuscript of the "Sattlermeister" story, written by Loos in 1903 and published in his book "Trotzdem" (Insbruck, 1931), undated and annotated in an unknown hand.Series IV. Miscellaneous printed materials (folder 6). Clippings discussing Loos' trial for alleged child molestation, 1928, and his book "Trotzdem"; with an appeal for financial support of the Loos school supported by Karl Kraus, Arnold Schoenberg, Valery Larband and James Joyce, undated.Series V. Project plans and drawings Unger/Loos: house "Jordan," Bruenn 1931 (880409*, folder 7). Eight drawings of the building and floor plans, dated Prague Feb. 1931, and one colored print with annotations.Series VI. Project plans and drawings Unger/Loos: house "Fleischner," Haifa 1931 (880409*, folder 8). Six drawings of the structure and its interior design, partly annotated, dated Prague 1931 Sept. with five blueprints of structure and floorplans, partly annotated, of the same date. One two page letter of specifications with sketches of the interior from Unger, briefly commented on by Loos, and one 4 p. letter of specifications from Unger. The drawings and blueprints represent a second, revised set of drawings for this project; the originals are presumed lost.Series VII. Project plans and drawings Unger/Loos: apartment "Leopold Eisner," Pilsen 1930 (880409*, folder 9). One drawing of a floorplan, possibly for the apartment of Leopold Eisner, Pilsen 1930, with some annotations.Series VIII. Project plans and drawings Loos/Lobmeyr: glassware, Vienna 1931-1932 (880409*, folder 10). Four drawings and two blueprints of the various components of the glassware service designed by Loos in collaboration with Lobmeyr.Series IX. Photoprint and pencil sketch, undated (folder 11). An undated photo portrait and one undated pencil sketch of Loos.Series X. Presentation copies of Adolf Loos' books: "Ins Leere gesprochen: 1897-1900," 1921, and "Trotzdem: 1900-1930," 1931. With one copy of each of the original editions, both dedicated to Kurt Unger.
Summary: Seven conceptual sketches for four houses. Four of the sketches show three elevations and a plan for one house, and one sketch has four elevations and a plan for another house. The remaining two drawings are elevations. The designs reveal the formal methods used to achieve apparently informal results. Three of the houses are unidentified; one design is for almshouses at Knebworth, dated 1908.
Summary: This small collection of 119 drawings, ca. 125 photographs and two models documents the work of the architect Frederic P. Lyman, who in the early 1960s was considered to be the leader of a new generation of architectural designers in Southern California. Meticulously drawn, Lyman's drawings examine the tectonics, or structural aspects, of architecture. They also show a strong interest in traditional Japanese architecture.
Summary: Two drawings of buildings, in the Futurist style. One drawing (pen and red ink, pencil, on parchment paper) is inscribed "Cabina elettrica di trasformazione" and signed "Virgilio Marchi 1919." This drawing was reproduced as the cover design for Marchi's Architettura futurista (1924). The second drawing (pen and black ink, pencil, on parchment paper) is a detail of plan for a "centro periferico," indistinctly inscribed (possibly "una pagina") upper right; stamped "46" and inscribed "BASE" lower right; numbered "4034" on reverse.
Martin, Albert C.
See AC Martin Partners
Summary: Collection includes a site plan signed by May and others, and two floor plans: one of a single floor of a housing unit and the other of a basement storage area for a block of apartments.
Summary: Postcard reproductions of plans and line drawings for the Douglas House, Villa Strozzi, Olivetti Dormitory, and Bronx Developmental Center.
Summary: 1 model representing a design of a paintings gallery interior for the Museum at the Getty Center by Richard Meier and Associates. Components: glass skylight (42 x 42 x 20 inches); metal louver (85 x 85 x 5 inches); wooden parapet with metal clips consisting of 4 separate sides and 2 blocks (97 x 97 x 30 inches assembled); plasterboard and wood model on wheels (97 x 97 x ? inches); and wooden box (14 x 40 x 7 inches) containing motor used for operating louvers.
Summary: The collection, from the estate of Luise Mendelsohn, comprises the personal correspondence and documents of the Mendelsohn family. The collection includes transcripts or originals of correspondence between Erich and Luise Mendelsohn (1910-1953), reflecting Erich Mendelsohn's architectural, aesthetic, and political development. Also included are a variety of letters and manuscripts concerning Erich's architectural legacy, manuscripts of Luise's unpublished autobiography and biographical notes on her husband, photographs of family life and architectural projects, microfilm copies of typescripts and drawings, audiotapes of lectures, and five drawings by Erich's students.
Summary: Letters mainly regard Mendelsohn's attempt to become a naturalized British citizen and join the Royal Institute of British Architects. In one letter Mendelsohn explains that he cannot commit to an indefinite stay in England because he is still trying to retrieve his fortune from Germany. In another letter Serge Chermayeff discusses his partnership with Mendelsohn and their acceptance of an invitation to teach in Liverpool, where Reilly is professor at the School of Architecture, University of Liverpool.
Summary: Four alternative designs for the Loge zu den drei Erzvatern (Jewish Lodge Building) in Tilsit, Germany (now Sovetsk, U.S.S.R.).
Summary: The collection consists of family correspondence and photographs; documents pertaining to copyrights of publications; business materials, including documentation of the restoration of the De La Warr Pavilion; and correspondence regarding important exhibitions on Mendelsohn.
Summary: The collection comprises drawings, correspondence, photographs, manuscripts, books, ephemera, and other reference materials pertaining to Hans Schiller's work with the architect Erich Mendelsohn, first in Jerusalem and later in California. No material is present for the years 1943-1947. The collection includes approximately 55 original drawings and sketches by Mendelsohn.
Summary: Highlighting two landmark architectural projects by Erich Mendelsohn, respectively the exterior facade Mosse Haus and an interior view of the dressing room at Double Villa, these vintage photographs document the architect's professional activity in Berlin early on in his career.
Summary:The collection comprises personal correspondence, drawings, photographs, monographs on Erich Mendelsohn, professional materials and ephemera documenting Gallis's personal and professional life, with particular attention to his years in training at the School of Architecture at the University of Oregon, Eugene, as well as his independent architectural practice after 1953. The collection excludes materials produced while Gallis worked with Erich Mendelsohn.
Summary: This group of photographs, assembled by the repository, relates to Hannes Meyer's career as architect and urban planner. Folder 1 contains one photograph of an architectural drawing by Kazimir Malevich entitled "Blinde Architektur" (ca. 1923), and 17 photographs of the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes, Bernau (ADGB) (ca. 1930). Folder 2 contains 11 photographs of assorted buildings, courtyards, and a mural in Moscow (ca. 1930-1936) and Mexico City (ca. 1939-1949). Oversize material includes one printed program and 14 photographs from the "Co-op Theater" and exhibition in Ghent, organized by the Verband Schweizerischer Konsumvereine (1924) and a folio with 4 mounted photographs of the Bundesschule der ADGB (Allgemeiner Deutscher Gewerkschaftsbund, Bernau) (ca. 1930).
Summary: Letters and love poems, kept private by Beese until her death, chronicling her relationship with Meyer. Includes ca. 74 letters from Meyer and ca. 34 from Beese (some of Beese's letters seem to be originals, suggesting that Meyer returned them to her). The correspondence documents their daily lives, both personal and professional, illuminating their emotions and personalities, their circle of friends (primarily Margret Mengel and Nina Balcerova), and their politics.Some important events are described in detail: Meyer's dismissal from the Bauhaus-Dessau in 1930 for his political views and disputed connections with the German Communist Party; his attempts with Beese to enlist the help of others in his defense, particularly Czech writer Karel Teige (who had taught at Dessau) and Czech architect Bohuslav Fuchs (with whom Beese lived in 1930-1931); and his eventual move to Moscow. This material includes newspaper clippings and typescripts in German and Czech (the Czech sometimes accompanied by Beese's German translations) of articles written by Beese, Teige, Fuchs, and Meyer's students who defended his political views and his right to express them. Meyer's letters at this time also record his opinions and feelings about Bauhaus figures such as Walter Gropius, Ludwig Mies van der Rohe, and Dessau mayor Fritz Hesse. Beese notes her own problems getting a job in Brno, Czechoslovakia, in 1931 and visits by police who questioned her political activities.The birth in 1931 of their son Peter and his welfare is a frequent topic. In letters dated after 1932 when Meyer was in Moscow and traveling in the Soviet Union, he details his work with Soviet architects and planners on building new towns for GIPROGOR and technical schools for GIPROVTUZ. He also discusses his appointment as professor at VASI, the Moscow architecture and building institute. By November 1932, acrimonious letters from Meyer sound the end of the relationship.The majority of the ca. 55 photographs were taken by Beese and are of Meyer or of their son Peter when he was an infant and young child. There are also photos of Beese, Fuchs, and Stam.
Summary: Letters received, 1930-1951, most notably from El Lissitzky, Paul Klee, Hans Schmidt, Herbert Bayer, Karel Teige, Hermann Duncker and others, discussing old Bauhaus colleagues, personal matters, and the problems of post-war Europe. With a program, in French, Dutch and German, for dramatic works performed at the Exposition internationale de la cooperation et des oeuvres sociales, Ghent, 1924 June 15-Sept. 15.
Summary: A fragment of an undated manuscript, 2 pp., with notes on the subject of architectural theory, design and aesthetics; and a letter from the architect's office, 1962 Nov. 30, to Karl Geyer accompanying a manuscript by Mies van der Rohe.
Summary: Elevations, perspectives, plans and grids for the Hubbe House designed for Magdeburg, Germany, but not built. Also available for comparison are photographs of forty-seven related sketches exhibited at the Protetch Gallery, N.Y.C.
Moyaux, Constant 1835-1900 (French)
Summary: Collection of J.J.P. Oud's architectural designs represented in drawings, photographs, sketchbooks, notebooks, and posters.Series I. Drawings, 1907-1963, n.d., ca. 236 sheets. Drawings of Oud's designs for projects include prints, blueprints, specifications, and photographs (ca. 197). The drawings include: a watercolor of the Townhall Heemstede of which Oud was the supervisor during construction (1907); House Brand, Beemster (1912); houses and clubhouse of the workman's cooperation 'Vooruit', Purmerend (1911); Cinema Schinkel, Purmerend (1912); workmen's dwellings in cooperation with Willem Marinus Dudok, Leiderdorp (1914-1915); military home, Den Helder, for a competition never executed (1915); rebuilding of the Villa 'Allegonda' (1917); apartment building Strandboulevard, Scheveningen, never executed (1917); row of houses, detail front (1918); factory and warehouse, Purmerend, never executed (1919); house for Dr. Kallenbach, Berlin, never executed (1922); Open University extension, Rotterdam, never executed (1924-1926); housing project, Hoek van Halland (1924-1927); housing project De Kiefhoek, Rotterdam (1925-1929); The Exchange, Rotterdam for competition never executed (1926); Hotel Stiassni, Brno, for competition, never executed (1926); Church Kiefhoek, Rotterdam (1928-1929);villa for the mother of Philip Johnson, Pinehurst, U.S.A., never executed (1931); chairs designed for Metz & Co., Amsterdam, with a signed contract between Oud and Metz & Co. (1931-1935); house Pfeffer-De Leeuw, Blaricum, never executed (1936); Town Hall Amsterdam for competition, never executed (1937); Interior of ship for Holland-America Line, Rotterdam (1937-1938); head offices for BIM (Bataafsche Import Maatschappij), the Hague (1938-1946); gravestones for H.C. Oud and N.T. Oud-Janszen (1939); monument in a park, never executed (1942-1943); National Army Monument, Grebbeberg, (1948); National Monument, Dam Square, Amsterdam in connection with John Raedecker (1949); Christian High School, the Hague (1950-1956); entrance to National Park, Otterloo, never executed (1957); extention offices for Shell Nederland, the Hague, together with Hans Oud (1959); House Plate, Voorburg, never executed (1960); Town Hall, Almelo, posthumously executed 1971-1973 (1962-1963) among others. Some drawings are unidentified. With two book-plate designs for Dirk and J.J.P. Oud, n.d. Arranged chronologically.Series II. Correspondence, 1946-1963. Correspondence with the Dutch weekly "De Groene Amsterdammer" and the architectural critic K. Wiekart, with drafts for lectures and other papers documenting Oud's ideas and conceptions in the post-war period. Correspondence with "De Groene Amsterdammer" (1946 Aug. 17-1959 Aug. 31) consists of carbon copies of letters by Oud to the periodical and original letters from architectural critic of the weekly J.J. Vriend and the editors. The letters between Oud and K.J. Wiekart (65 items, 1960 Aug. 3-1963 March 3) represents a complete exchange of letters from the beginning of their friendship until one month before Oud's death 1963 April 5.Series III. Sketchbooks, 1912-1963, n.d., 8 v. Seven sketchbooks in pen, pencil, charcoal, and watercolor of trees, a house at Aalsmeer, a townhall, and human figures (1912); ornaments and a building by Van der May, Berlage (ca. 1914); sketches of a cupboard and the Van Essen-Vincken cottage at Blaricum (1915-1916); chairs, staircases, and lamps for the S.S. "Nieuw Amsterdam" (1937); travel sketches (1955-1962), and views from the window of Oud's house in Wassenaar (1961-1963).Series IV. Notebooks, ca. 1936-1957, 3 items. Three handwritten notebooks including one entitled 'Aforismen' (ca. 1936-1939; bookkeeping for the "Spaarbank", Rotterdam (1942-1955); and one entitled "J.J.P. Oud, Invallen, Opwellingen, Overdenkingen" (ca. 1957).Series V. Posters, 1951-1966, 4 items. Four posters from various exhibitions of Oud's work.
Summary: In this letter Segal comments on Oud's open-mindedness and revolutionary spirit.
Summary: Six photographs of Oud's block of five apartments for the Weissenhofsiedlung, Stuttgart. Of these, two are exterior views of the entire block (front and back), one is an exterior detail, and three are interior views. The collection also contains copies of measured drawings of the site, typical plans and a section, and two reproductions of exterior views (annotated).
Summary: Design for a chair (front, side and isometric views) and, on the verso, designs for a table.
Summary: Annotated and corrected autobiographical essay chronicling Oud's involvement with the "De Stijl" movement. The essay was not originally intended for publication as evidenced by a ms. note by Oud on the first page.
Notes: With a cover letter to Jean Badovici, editor of L'Architecture Vivante, Oud explains that he is sending seven photographs and a roll of drawings of his work; he annotates the plan and photographs to indicate what points of view the photographs were taken from. In addition to this letter, there are 4 photographs and 10 photoprints which do not appear to be annotated.
Summary:A long appreciative essay in which Oud deplores the mere imitation of Wright's forms by those whom he feels ignore Wright's basic theories of architecture. Oud also relates Wright to major movements in early Modernism such as Cubism.
Summary: Four black and white retouched photographic prints of the model for a house, the Villa Johnson, in Pinehurst, North Carolina.
Summary: These papers of Mario Palanti (1885-1979) primarily document the planning and construction of the Palacio Salvo in Montevideo, Uruguay, as well as his dry masonry technique known as "palandomus."Series I is composed primarily of notes on housing projects, a patent request, various writings dealing with dry masonry, photographs and postcards of the Palacio Salvo during construction and of its interior.Series II consists of circa 180 blueprints of Palacio Salvo.Series III contains a photograph album of Uruguay (1945-1946), and an undated photograph album of the Otis Elevator Company with calligraphic captions of buildings, elevator lobbies and elevator engines.
Summary: A collection of roughly 6,500 blueprints, architectural drawings, sketches, and photographic documentation of the construction site of the Union Station in downtown Los Angeles made between 1932 and 1939. Includes: conceptual drawings; landscape drawings; sketches of exterior and interior views; detail drawings of architectural elements, materials and furniture; plumbing and electrical working drawings; landscape drawings; and photographic documentation of the construction site (mostly negatives and some small black-and-white prints). The principle architects for the project were John (1861-1935) and Donald Parkinson (1895-1945), a father and son team who also designed the Los Angeles City Hall. There is also a logbook containing an indexed record of the drawings by section (not all drawings are listed in this ledger), and original plans accompanying the contract dated April 23, 1937 covering Main Station Building for Los Angeles Union Station Passenger Terminal with Robert E. McKee, general contractor.Drawings dated from the 1940s to 1991 are for revisions to the building or its mechanical systems. Early drawings, 1910 and 1920s, all appear to be examples of railroad track standards.
Summary: The series is comprised of a title plate and thirteen plates, with the earliest state of the imprint containing the Venetian spelling Buzard, subsequently changed to Bouchard.
Summary: Copies of Poelzig material in three locations: (1) 1600 negatives of measured drawings, photographs, etc., in the Technical University, Berlin; (2) 162 negatives and transparencies of measured drawings in the Museum for Transportation and Technology (Museum für Verkehr und Technik), Berlin; (3) 292 negatives and transparencies of paintings and sketchbooks owned by Poelzig descendants. The collection also includes five audio tapes in German giving the information recorded on each drawing.
Summary: Collection consists of Poelzig's surviving papers. A small body of general correspondence includes records of the Neue Wache group in Berlin, manuscripts, some family history, and clipping files. A sketchbook contains drawings for various projects, and a pastel drawing is for a cathedral design. The drawings are from a much larger surviving body of drawings.Series I. General correspondence, 1907-1936, n.d. Chronologically arranged. Includes ca. two hundred business letters received with copies of outgoing letters, most are dated 1930-1936. Correspondence with fellow architects, professors, and clients include Walter Gropius (1918-1936), Erich Mendelsohn (1932), Bruno Taut (with a 4 p. typescript entitled "Das Deutsche Grab," 1930), Martin Wagner (1934), Willi Hess (1934-1935), Paul Schmitthenner (1919-1934) and officers concerned with financial aspects of the I. G. Farben administration building, Frankfurt (1927-1929).Series II. Records of the competition "Neue Wache", Berlin, 1930. Copies of the rules and regulations, the minutes, and the correspondence concerning the competition "Neue Wache", a war memorial. Poelzig competed against Mies van der Rohe and Heinrich Tessenow.Series III. Manuscripts, n.d. Includes a 5 p. script by Kurt Kluge entitled "Conversation in Heaven"; characters portrayed are Poelzig, Schinkel, Arthur Kampf, Anton Alexander von Werner, and Bruno Paul among others; filmscript entitled "Gulliver's Reisen"; and a 2 p. unidentified essay on rebuilding the state opera house in Berlin.Series IV. Sketchbook and drawings (870640*). Sketchbook with twenty-four leaves of developmental designs for: Feitspielhaus Salzburg (1920-1922), plan for Poelzig /Moeschlee house (Berlin), a private house, decorative sketches, elevations possibly related to the Friedrichstrasse competition (Berlin, 1922), and sketches for monuments. Two additional theatrical drawings are dated 1920: Bühneubild zu Faust (project), for the Berlin Grosses Schauspielhaus; and Film architektur für Golem. With a separate pastel drawing of a "Majolica cathedral" (1920).Series V. Family history, n.d. Includes a 1 p. typed list of Poelzig's parents and grandparents with birthplaces and dates; 2 p. history of Poelzig's professorship and directorship at the School of Arts and Crafts in Breslau; 1 p. of family history from the 12th to 18th century and a 12 p. family history from 12th to 20th century (1929).Series VI. Clipping files, 1930-1934. Largely about Poelzig's later work.
Prix, Wolf D.
See Coop Himmelb(l)au
Proskauer, Henry 1915-2006 (German architect, active in America)
Summary: For more than three decades Proskauer saved articles from American and European periodicals on major architects and their work, buildings types and the modern architecture in various countries. The periodicals represented include Architectural Forum, Progressive Architecture, House Beautiful, the New York Times, Look and Domus.Series I. Files on architects, including Alvar Aalto, Edward Larrabee Barnes, Marcel Breuer, Charles Eames, Ulrich Franzen, Buckminster Fuller, Walter Gropius, Philip Johnson, Wallace K. Harrison, Louis I. Kahn, William Lecaze, Le Corbusier, Mies van der Rohe, Erich Mendelsohn, Pier Luigi Nervi, Richard Neutra, Eliot Noyes, I.M. Pei, Paul Rudolph, Eero Saarinen, Jose Luis Sert, the firm of Skidmore, Owings & Merrill, Edward Durrell Stone, Louis Sullivan, Frank Lloyd Wright, Minoru Yamasaki, and a file on miscellaneous architects.Series II. Files on building types, including airports, apartment houses, banks, churches, colleges, expositions, gardens, hospitals, hotels, libraries, industrial structures, houses, movie theaters, museums, offices, public buildings, schools, recreation facilities, restaurants, stores, swimming pools, theaters and transportation facilities.Series III. Files on design contain information on the United Nations, architecture in England, France, Italy, Germany, Switzerland, Austria, Japan, N. Europe, Mexico, South America, and other countries. Also included are files on lighting design, furniture, architectural details, interiors, awards, city planning, construction, authors, kitchen and bath, building materials, and traditional architecture.Series IV. Additions to the collection are gifts from Proskauer and include clippings on design (from Jugendstil to post-war modernism), architects and designers (including Philip Johnson, Mies van der Rohe, Hans Hildebrandt, Tut Schlemmer, Walter Gropius, Le Corbusier, Adolf Loos, Frank Lloyd Wright), architecture, clothing, hygiene and the body (including articles by and about Bernard Rudofsky). Also included are 3 manuscripts (typed) by Henry G. Proskauer and a typescript of lectures by Carlos Contreras about Mexico. Proskauer's writings include City Planning (1941), The City Present & Future (1942), and Development of the Apartmenthouse (undated). The typescripts include pasted in black-and-white photographs and images clippped from publications.
Summary: Letters and postcards received from artists, art historians, and publishers. One hundred and thirty-eight from Hans and Lily Hildebrandt (1948-1962); twelve from publishers regarding articles by Hildebrandt on Oskar Schlemmer and Willi Baumeister including two from Robert Goldwater of the Magazine of Art (1948, 1951), one from Edgar Kaufmann Jr. of the Museum of Modern Art, N. Y. (1951), one from I. M. Kleemann of Kleemann Gallery (1955), and four from Heinrich Heide of the Staats-Herold Corporation (1953, 1955), with copies of Hildebrandt's essays including "Hans Burhlmanns Stuttgarter Zeit" (1944), "Alt-Chinesische Kunst in Venedig" (n.d.), "Die Situation der Deutschen Plastik" (n.d.), "Weshalb gibt es erst seit dem 20. Jahrhundert eine gegenstandslose Kunst?" (n.d.), a newspaper article from Sonntagsblatt Staats-Zeitung und Herold entitled "Gegenstandslose Kunst" (1953), and a signed copy of a book review by Dr. Baumhauer on Hildebrandt's Stuttgart wie es war und ist (1953); three letters from Sibyl Moholy-Nagy regarding articles written for Arts (1959) and technical explanations for an exhibition (1970); five from Franz Roh (1950); thirty from Tut Schlemmer regarding social and personal matters (1959-1982), with a 4 pp. article reprinted from the Magazine of Art by Hildebrandt entitled "Oskar Schlemmer" (1950); ten letters from Wilhelm Wagenfeld (1956-1964).
Other Archival Locations: Selected articles from American architectural magazines, 1939-1943; Museum of Modern Art Library, New York, N.Y.Research files on architecture, ca. 1940-1970; Getty Research Library accession no. 850194.
Summary: Three volumes of drawings, pasted-in, evidently used in the preparation of Examples of Gothic Architecture... in England... (London, 1831-). The drawings are studies of Gothic architectural details at: Merton, Baillol, New College, All Souls, St. John's, Magdalene and Brasenose, Oxford; churches in London, Oxford, Hertfordshire and Norfolk; the Archbishop's Palace, Croyden; the Manor House, East Barsham; Oxburgh Hall, Thorpland Hall, Norfolk, and other places. While there is some correspondence between the volumes of drawings and the publication, the drawings (many of which are entirely unpublished) are generally larger, far more detailed and heavily annotated with measurements. Those of Pugin's students contributing to the project (some of whom went on to become successful architects in their own right) included Pugin's son, Augustus Welby Northmore Pugin, Thomas Talbot Bury, Joseph Nash, Benjamin Ferrey, T.J. Amos, F.T. Dollman, B. (Benjamin R.?) Green and G.B. Wollaston. Nearly all the drawings are record drawings, but one drawing (v. 1 opp. folio 7) appears to be a design study for the clock tower at the Houses of Parliament which varies greatly from the initial designs of Sir Charles Barry.
Summary: Signed and dated perspective drawing of the facade of a neo-Gothic church. The building is thought to be Whippingham Church, Isle of Wight, designed by Sir John Nash in 1804.
Summary: 1 letter. [Digitized]
Summary: Collection includes an exhibition catalog and other ephemera, with a letter by Purcell about his work on the Einfelt house in River Forest, Illinois, and an essay by Purcell about Louis Sullivan. With a list of buildings surviving in 1960 by Purcell and Elmslie.
Summary: Rading's drawings (floor plans, elevations and interior views) of the house for Dr. Rabe, designed and constructed according to Bauhaus principles. Oskar Schlemmer did the interior decoration.
Robina, Ricardo de 1919- (Mexican architect)
Summary: The collection contains research materials on North and Central American antiquities and archaeological sites, with field notes, photographs, and mimeographed publications. Included are albums of photographs of Maya architecture, and miscellaneous teaching notes, architectural designs, and slides.Series I. Research files: Approximately 100 research notebooks containing correspondence,notes, and photographs mainly regarding the archaeology of Maya sites in Mexico, Honduras, and Guatemala. Includes a dissertation and two volumes of notes on the Hochob site and a manuscript study of the Pedregal de San Angel site by Robina and Jose Luis Lorenzo. Other volumes contain general information on individual sites, primarily Acanceh, Ake, Bonampak, Chichén Itzá, Copán, Kabah, Labná, Mayapan, Palenque, Piedras Negras, Quiriguá, Sayil, Tikal, Tulum, Uxmal and Yaxchilan, with site plans, building dimensions, inscriptions, drawings of artifacts, chronologies, bibliographies, and so forth. There are approximately 500 photographs (8x10, b/w) of Maya architecture (with some sculpture and ceramics), and of museum exhibits throughout North America and Europe. The series contains correspondence with A.V. Kidder, Gordon Ekholm, Guillermo Cuevas, and others, and conference papers by Robina and others on the history of art, aesthetics, and archaeology.Series II. Photograph albums: Thirteen oversized boxes of photographs (14x14, b/w), mainly of Maya architecture taken by Robina ca. 1950. Also included is a portfolio of photographs of the Codex Becker no. 1.Series III. Student notes: Notes taken by Robina while a student at the Escuela Nacional de Antropología e Historia (1946-1948), and from lectures given at the Universidad Nacional de México, the Escuela Nacional de Arquitectura, and the Universidad Iberoamericano (1949-ca. 1960).Series IV. Slide collection: Consists of ca. 10,000 color slides on world art, Maya antiquities, travel, and so forth.Series V. Museo Nacional de Antropología research: 21 notebooks containing essays by others on the various ethnic groups and regions of Mexico, prepared for mounting installations in the new Museo Nacional de Antropología, ca. 1960. There are also two notebooks of photographs of installations in the Smithsonian Institution, Washington, D.C.Series VI. Architectural designs: Designs by Robina and his partner, Jaime Ortiz Monasterio, for apartment buildings, houses, churches, industrial plants, and hotels, in Mexico City, Acapulco, and elsewhere. Located primarily in notebook 46 of Series I.
Summary: Architectural records of the collaboration by Rosenauer and the composer Richard Strauss to design a music center intended for Mousion, a community near Athens, Greece. Designs include a plan, details, and a watercolored perspective view, ca. 1926, together with sketches for a redesigned version of the theater, 1956 (15 items). Typescript and published article by Rosenauer entitled, "Richard Strauss Conducts Architecture" (about Rosenauer's designs for the center and for a house he also designed for Strauss). Travel sketches of classical monuments in Athens (5 items). Miscellaneous photographs, blue prints, and clippings.
Summary: The Aldo Rossi papers contain a selection of works by the prolific architect, writer, artist and theorist. The collection includes notebooks, sketchbooks, lectures and course materials, assorted writings and correspondence, drafts for publications, clippings and ephemera. Rossi frequently corresponded with a circle of architects including Carlo Aymonino, Peter Eisenman, Leon Krier, Rob Krier, Paolo Portoghesi, Hans Hollein, and Manfredo Tafuri. A set of architectural drawings for the Palazzo dei Congressi, Milan (not realized) consisting of preliminary sketches and design plans as well as an architectural design in pencil and oil are also included.
Summary: Rudofsky's working papers consist of 56 notebooks with dense writings and pencil drawings; magazine articles; magazine cover designs; ca. 150 drawings, primarily building studies, done in watercolor, pencil and crayon; plans, sketches and photos of his building projects in Brazil, Italy and the United States; illustrated lectures; photographs of exhibition installations organized by Rudofsky; copy of doctoral dissertation; and examples of fashion designs. Also included are 33 travel notebooks (1948-1984) with many drawings, and ca. 5500 color slides and ca. 125 black and white prints taken during his travels.
Summary: One pair of size large, red and white leather Bernardo sandals, designed by Bernard Rudofsky, enclosed in one vintage Bernardo shoebox with two pieces of original Bernardo tissue paper.
Summary:The Émile-Jacques Ruhlmann drawings and papers detail the later work of this French Art Deco interior and furniture designer. This collection of interior design drawings displays a cross section of Ruhlmann's most productive period and forms a significant resource for the study of the history of modernism in French decorative arts. Though many of the materials are undated, based on drawing and paper inscriptions from the collection, dealer's inventory, and research, the materials can be dated to between 1924 and 1936. Project titles are based on information provided in portfolio inscriptions and dealer's inventory.Included in this collection are twenty-four portfolios for seventeen design projects that document perspective views, floor plans, furniture designs, and interior design details. Materials are largely visual, comprised of original sketches, drawings, stencils, and renderings. Scattered throughout the collection are several handwritten notes, financial statements, and textual records. The portfolios are labeled by project, but some drawings may be incorrectly filed.Ruhlmann was a prolific "ensemblier" who designed furniture, wallpaper, carpet, floor coverings, window draperies, upholstery, and lighting. This collection provides rare visual documentation of Ruhlmann's conceptual design works through preliminary drawings and sketches. Notable clients represented in the collection include: André Tardieu, French Prime Minister from the 1920s; Daniël George Van Beuningen, Dutch collector and businessman; André Granet, architect; and Paul Rodier, textile and silk producer. The collection also provides documentation of Ruhlmann's last major interior design project for André Granet. This project began in 1932 and was completed by Alfred Porteneuve, Ruhlmann's nephew, in 1934 after Ruhlmann's death.
Summary: The collection contains approximately 150 letters and cablegrams between Frank Lloyd Wright and Rudolph Schindler (1914-1929 and undated), with about 12 other items, including a photograph of Wright (ca. 1920), handwritten notes and financial accounts by Schindler, manuscripts of essays, Schindler's telephone book, and specifications for the Imperial Hotel. Most of Wright's letters are handwritten, all of Schindler's letters are carbon copies, except for a few handwritten cablegram forms. The collection was part of Schindler's personal papers, and was acquired through his son.The correspondence begins with a letter from Schindler (undated but probably 23 November 1914) asking about the possibility of a position with Wright. It ends in August 1929 with Wright's letters of recommendation for Schindler to present to the architecture licensing board in California. In between, the majority of the letters concern the Imperial Hotel (Teikoku Hoteru) which Wright is working on in Tokyo (1915-1923), and the Barnsdall house group in Los Angeles (1917-1924) which Schindler is supervising for Wright from Chicago and, beginning late in 1920, from Los Angeles.Wright's letters from Tokyo give details about the design and construction of the Imperial Hotel, especially the foundation engineering and the utility systems, and include occasional sketches. He requests boring machines, contracts, the detailed drawings he has asked Schindler to make for the Imperial Hotel and the Barnsdall project, and news. His letters include references to others who are involved in the Imperial Hotel project, especially Aisaku Hayashi (Managing Director of the Imperial Hotel), Baron Okura (Chairman of the Board of the Hotel), the Chicago contractor Paul Mueller, and Wright's draftsmen, Antonin Raymond and Will Smith. Wright also discusses the design of the Barnsdall project and the difficulties raised by the client. Several letters include personal subjects, such as Louis Sullivan, Wright's companion Miriam Noel and their troubled relationship, Wright's mother, his son Lloyd Wright, and his own illness while in Tokyo.Schindler's letters give details of the work he is doing to reconfigure Wright's Oak Park house into separate rental units. He relates news about Lloyd Wright who is in Los Angeles ready to begin construction on the Barnsdall house (called Hollyhock house), and about the difficult Aline Barnsdall. He recommends his friend Richard Neutra to Wright, and alludes to other jobs, including the Shampay house (1919) and his efforts to build a house for himself in Los Angeles (Schindler-Chase house, 1921). A file of eight letters (1922) between Schindler and Wright relate to the design of a house for Mrs. Charles P. Lowes in Eagle Rock, California.The three essays appear to be by Wright. One consists of a four page draft of his autobiography, the others are short, poetic manifestos about art.
Summary: Schindler's introduction to this limited edition and privately circulated volume reads: "Presenting an informal collection of my papers to clarify my work - which recognizes that space is the true and sole medium of architecture." The contents include "Modern architecture: a Program, Vienna, 1912"; reprints of published articles; notes on modern architecture, 1944; a list of thirty of Schindler's approximately two hundred buildings built between 1921-1949 with notes on their design and construction features; biographical notes; a list of published photographs of works; etc.
Summary: Designs for five projects: Competition submissions for a school near Hamburg (Berufsschule Einsbuettel), ca. 1930; 5 drawings with plans and watercolored elevations. Atelier building (Atelierhaus), ca. 1928; perspective view (with blueprint and another view only in blueprint). Competition submission for a church (Kirche Langenhorn), ca. 1925-ca. 1930; one drawing with plans, watercolored elevations, proportional studies, and photographs of a medal. Perspective studies for two houses (project numbers 28/7 and 30/1); 2 drawings in pencil, ink, and airbrushed ink; and two drawings of a "Curiohaus" for the 1933 Kuenstlerfest.
Summary: Karl Schneider's papers contain photographs, correspondence, original documents, glass slides and many original drawings. Most of the photographic materials (ca. 850 items) document Schneider's first career in Germany (1921-1938), and the architectural achievements of his contemporaries. There are also a small number of official documents from both Weimar and Nazi Germany. All of the original drawings and sketches (ca. 1000 items) date from after Schneider's immigration to the United States in 1938. About half of these are his designs for consumer products produced by his employer Sears, Roebuck & Co., (1938-1945). The archive, therefore, offers an interesting glimpse into an artist/designer's collaboration with commercial industry, and the mass marketing of modern design through Sears' products.Series I. Personal and professional papers: (1921-1962) contain documents pertaining to Schneider's career, including German exhibitions and publications, and some papers relating to the loss of his professorship during the period of the Third Reich. Documents from his American phase include references, and immigration and licensing papers. There are, however, no personal letters and very few letters in Schneider's hand.Documents from Germany record Schneider's professional affiliations including contracts with the Kunstgewerbeschüle in Hamburg, his suspension from his position in 1933, his students' petitions for his reinstatement, and the termination of his employment by the Nazis. Files contain information about Schneider's publications and an inventory of Schneider's library. Personal documents include his birth certificate, discharge from the army, immigration and divorce papers. Schneider's professional life in the United States is chronicled by a small amount of correspondence, a 1944 contract with Liebl and Schlossman, and recommendations written on his behalf by Walter Gropius, Lewis Mumford, Walter Curt Behrendt and others. To augment the collection ca. 250 photocopied pages of articles and drawings from the Karl-Schneider-Archiv Hamburg, pertain to his early career.Series II. Sketches and drawings: ca. 1,000 sheets of sketches and drawings by Schneider represent his work in America. Included are drawings of Michelangelo's tomb of Julius II in the Medici Chapel done for art historian Edgar Wind, ca. 1942-1944. Other drawings document Schneider's architectural work. Most of the drawings concern Sears, Roebuck & Co. projects such as "Craftsman" tools, toys, appliances, furniture, and store designs. The drawings are in pencil, colored pencil, chalk, charcoal and wash.Series III. Photographs and slides: ca. 800 photographic prints and slides document Schneider's architectural designs in Germany and include many of unrealized plans and models. Included are some personal photographs, and a number of photographs of work by Schneider's German, Austrian and American contemporaries, such as Frank Lloyd Wright, Lewis Mumford and Louis Sullivan. There are also images of Schneider's designs for Sears stores (plans, views and site studies) and several photographs showing a Sears store under construction in Mexico City, 1946. There is also an album of photographs of Brunelleschi designs. Many of the photographic images were taken by Ernst Scheel and by Schneider's second wife, Ursula Wolff.Series IV. Glass negatives: ca. 800 glass negatives of the photographs in the collection. Although many of the photographs do not have negatives, most of the negatives in the collection have a corresponding photographic print.
Summary: Printed ephemera such as advertisements, pamphlets, proof pages, flyers and one photograph offer a broad sampling of Schuitema's designs, typography, photomontages and use of color. His designs for advertising incorporate bold text, drawings, color and various photographic techniques. He designed advertisements for such companies as De Vries Robbé & Co. which manufactured large machinery, Toledo Berkel which made weighing machines and Boele en van Eesteren which constructed buildings made of concrete.The items in this collection came from the first Schuitema exhibition held in the United States. It was presented by the Prakapas Gallery at their stand in New York City's Armory show "Works on Paper," March 11-14, 1993.
Summary: An annotated drawing for a stage set and a design for a chair (colored crayon), 1928.
Summary: Detailed letters written to his uncle, Giovanni Maria Selva, and very occasionally to his father, from Rome and Naples (1778 Oct.-1780 May), where he was continuing his architectural training. With additional letters written during journeys to Marseilles (1780 Sept.-Oct.) and northern Europe (1781 May-Dec.) apparently undertaken to look at tools, instruments, manufacturing establishments, and hydraulic engineering projects in connection with the business of the Arsenale in Venice.The travel letters are long and detailed with extensive commentary on sights and sites, especially festivals, harbors, and canals, although comments on strictly architectural matters are rare. References to his friend Antonio Canova and his teacher Temanza appear throughout. It has not been established whether parts of the series have been lost, or whether the breaks in the correspondence represent periods of time spent in Venice. Chronologically arranged.1778 Oct.-Dec.: Three letters from Rome, principally discussing Selva's proposal to the Spanish crown for a funerary monument to Pope Clement XIV; with comments on Roman life and on the printer Volpato.1779 May-Sept.: Four letters from Rome discussing events in Rome, his plans to travel and work in Naples, Sicily and Malta in the company of Cav. Ippolito Pindemonte, and his studies and designs including work on a chantry.1780 Jan.-May: Fifteen letters from Rome and Naples discussing his work, including the opening and decoration of a concert hall in Rome. The six letters from Naples report on festivals, galleries and their collections, ancient buildings, and other sights. With a reference to his friend Giacomo Quarenghi and his work in St. Petersburg.1780 Sept.-Oct.: Five letters, from Terni, Sinigaglia, Bologna, Genoa and Marseilles, with extensive description of the Roman waterworks at Terni; the landscape, paintings and buildings of Bologna, Parma, Aix, and Genoa; and the engineering of the port at Marseilles.1781 May-Dec.: Sixteen long letters from Paris, London, Amsterdam, Brussels, Munich, and Verona. Those from Paris (May and October) describe a military review, the fountains and parks of Versailles and Marly, and manners and events at the court of Louis XVI, and include reference to the work of Abbe Raynauld and to Bartolozzi. The eight letters from London describe various manufactures, machines, instruments and improvements in London, Portsmouth, Manchester, Liverpool and the Potteries with some general comments on British industrialization and comparisons with the situation of Venice. There are discussions of the hospital and observatory at Greenwich; the status and organization of British artists and scientists; techniques of firing ceramics; the development of harbors, canals and bridges; and there is some commentary on Venetian artists, including his purchase of prints after Luca Giordano by Ravenet and the presence of paintings of Canaletto. Letters from Amsterdam, Brussels and Munich (1781 Oct.-Nov.) include description of the Dutch townscapes, a festival in Munich and telescopes and other instruments.
Small, Franklin M. 20th Century (American Architect)
Summary: Blueprints and drawings of furnishings and accessories designed by New York architect Franklin M. Small and Japanese craftsmen for the 1914 Hollywood Hills home, known as Yamashiro, and the 1924 Pacific Palisades Japanese garden of the Bernheimer brothers. The drawings are joined by related photographs, tear sheets, certificates, and one letter signed by Small.
Summary: Four designs: (1) Shotesham Park, Norfolk, designed in ca. 1785 (two elevations and one perspective); (2) Library for Beechwood Park, Hertfordshire, 1804 (interior perspective); (3) Pellwall House, Staffordshire, ca. 1822 (elevation with sketch of an alternative) and (4) door enframements, 1828 (two alternatives).
Summary: Plan, elevations and sections of an exhibition building designed by Stam and Moser, Frankfurt a. M. The hall was to be lighted primarily by two sets of clearstory windows, but is not known to have been built. The two drawings are dated 1930 May 22.
Summary: Color transparencies of drawings exhibited in 1988 at the Protetch Gallery, New York. Included are axonometric, isometric, and other drawings (largely for presentation) for three projects: Parc de La Villette, Paris (completed, 1983), 16 frontal axonometrics of folies (panels A through P) plus 8 plans, elevations and views; New National Theater, Tokyo, i.e. Dai 2 Kokuritsu Gekijō (competition entry, 1986), 12 perspective views, elevations, conceptual notations, sections and plans; County Hall, Strasbourg (competition entry, 1986), 6 views, plans and isometrics.
Summary: 13 double-page and 7 single=page plates. Suite probably engraved between 1695-1712. Order and number of plates uncertain.
Summary: Thirteen letters and two postcards to Théo van Rysselberghe or his wife Matatita (1892-1953). Topics include: illustrated publications, decorative arts, group exhibitions, collectors, and a lecture on the relationship of medium to artistic result. The remainder of the collection consists of: one letter to van de Velde's wife Maria, four letters to the painter Ludwig von Hofmann (1922-1957), and one letter from Maria van de Velde to the publisher Max Brockhaus.
Summary: Letter to the biographer of Max Klinger defending his views on the Weimar Kunstgewerbeschule and his portrait of Klinger, recently published.
Vannini, Giuseppe 19th c. (Italian architect)
Summary: Plans, elevations, estimates, and specifications for work on some ten villas and city properties, apparently in Florence, including unrelated assessments and legal papers for a palazzo of Benedetto Naldini del Ricchio (which includes reference to a painting by Pontormo). Projects include additions, restorations, and new buildings.
Summary: Original drawings by Vannini used in his Elementi d'architettura civile of 1818, here bound for reuse in the preparation of the second edition of 1850. All drawings are signed by Vannini. A note in the volume explains that the drawings for plates 41 and 44 had been lost. Also included are 2 manuscript letters, one addressed to "Giovacchino" documenting the delivery of the drawings to him; the other from Vannini to Giovacchino Pagani, the publisher, (March 18, 1850) acknowledging receipt of 56 copper plates for the second edition. [Digitized]
Summary: Details designed by Viollet-le-Duc to be executed by the sculptor Louis Villeminot for the tomb of Vorontzof at Odessa. The tomb was completed in 1859. The drawings reveal the influence of Viollet-le-Duc on the development of the art nouveau style.
Summary: Collection contains a largely unpublished essay "Les monuments Parisiens et leurs amis" (11 p., n.d.), and manuscript "Ligne de Rouen et ligne de Dijon" (1857). Letters are mostly to A. Morel and relating to the preparation of Viollet-le-Duc's "Dictionnaire raisonne de l'architecture francaise du XIe au XVe siecle," published by A. Morel & Cie. (1867-1873). Other topics include restoration of the church at Moissac. Letters to M. Lefort, an inspector of government works projects and to the architect Greppin, 1849-1857, deal with recommendations and "Les concours d'architecture". Additional letters are to unidentified correspondents and primarily concern business matters. In an early letter (1835 Aug. 3) Viollet-le-Duc praises an unidentified author on his articles concerning modern drama and comedy; a letter dated 1847 June 21 concerns the painter Victor Orsel. Four letters (1867-1892) were written by Viollet-le-Duc's son and pertain to financial matters and the whereabouts of a set of drawings made by Viollet-le-Duc in 1878.Drawings include: a pencil study for a neo-Gothic capital; a pounced floral design in watercolor; a signed, dated and annotated design for a reliquary to house the remains of French monarchs (listed) in the Cathedral of St. Denis showing a plan of the church and a drawing of the reliquary, which was to be made of stone with glazed open work and inscribed bronze plates; and two leaves of nature sketches, one a scene with a Gothic arch fronting a spring.
Summary: These documents and letters were collected by Hérold and detail the proceedings of the 1873 competition to rebuild the Hôtel de ville after it was destroyed by fire during the Commune revolt of 1871. Included are 20 lists of jury members and competition entrants, and five published reports of meetings (1872-1873). Five letters (1873-1897, n.d.) from architect and restorer Viollet-le-Duc discuss the 1873 competition and his opinions on rebuilding the Hôtel de ville in its original Renaissance style. (He sat on the jury committee for the rebuilding.) One sheet with drawings of trees by Hérold is dated 1873.
Summary: Primarily letters received from architects, artists, publishers and students concerning the work of Wagner and that of his correspondents. Also includes 5 letters from Wagner dated between 1902-1917.Correspondents include Joseph Olbrich, 18 letters 1899-1907 mostly concerning his and Wagner's submissions for exhibitions, the Basel railroad station project, publications, and personal matters; Hermann Muthesius, 2 letters 1903, 1905, one discusses a project to preserve historical buildings; Koloman Moser, 8 letters 1905, 1907, 1911 mostly about his altar designs for Kirche am Steinhof and problems relating to the execution of the designs, includes sketches; and 4 letters from Joseph August Lux, 1909-1914. Letters from various people discuss Wagner's church designs and the conflict between design and church dogma. Letters from students discuss their architectural work and Wagner's lasting influence. Other letters relate to a Cologne exhibition, 1906-7, and Wagner's work as an officer of the Congres Internationaux d'Architecture Moderne.
Summary: Drawings of architecture and landscapes and designs for the decorative arts. The sixty-eight architectural drawings were largely made during a 1878 trip throughout France and include Romanesque buildings in Soissons, Bayeaux, and elsewhere. Of the sixty-eight items, about half are of entire buildings or large sections of buildings and half of details such as cornices, sometimes with measurements and other annotations. A few drawings are of buildings in Cuernavaca, Mexico, and one is of St. Sophia, Istanbul, Turkey (with detailed notations of color). Other groups of drawings are of landscapes (fourteen items) and art (ten items, including paintings, sculpture, and stained glass - the glass at the Eglise Saint-Nicolas, Beaumont-le-Roger). Also, twenty-three designs for magazine covers (Globe, Cosmopolitan, and the National Democratic Review) for books (by Walton and by Goldsmith) and for a tombstone (Sealy). With etchings of a bookplate for Alice Brinsmade.
Summary: Collection contains typographical designs by the Dutch architect Hendricus Theodorus Wijdeveld, in original drawings and printed examples (circa 70 items). Also included are drawings, original and reproduced, for his architectural designs (6 items). Several items, including invitations and a newspaper article, are about Wijdeveld.Examples of Wijdeveld's typographical designs include letterheads, invitations, advertisements, manifestos and prospectuses (circa 45 items). His designs for magazines are represented by layouts and printed proofs for Wendingen; a printed cover for Bouwkundig Weekblad Architectura (1927); rough designs (1924) for and 11 issues of Architectura (1922). Book designs include proof sheets for a book by J. W. Schotman (1927), and 1 printed example each of 2 books (by Albert Vogel, Albert A. Plasschaert) published by Van Loghum Staterus en Visser (1919).Architectural designs, all by Wijdeveld, include reproduced or original drawings for the following projects: display rooms for the 1925 Paris Exposition; a theater in Amsterdam, possibly the unbuilt theater at the Plantage Middenlaan, 1921; the International Werkgemeenschap Cultuurcentrum, 2 drawings dated 1954, 1959; Groot Bentveld, a plan for a new 'villa wijk' dated 1954; and a design for a house and studio, possibly for himself, dated 1958.The collection contains a few items about Wijdeveld: 2 invitations to exhibitions of his work (1953, 1967); an invitation to his 90th birthday reception and a short text set to music by his son-in-law for the occasion (1975); and an interview with Wijdeveld by Hans Vogel, published in the daily newspaper, Het Parool, 1979 February 9.
Summary: This bound copy of Wijdeveld's typescript (28 leaves); Creativity America invites father and son, is a presentation copy inscribed on the title page by the author to the American architect Arthur B. Gallion. The typescript documents Wijdeveld's lecture tour of the United States in February and March of 1962. The typescript is joined by an aerogram dated September 8, 1962 from Wijdeveld, in Holland, to Gallion, in Honolulu. In the letter Wijdeveld asks whether Gallion had received the typescript.
Summary: Manuscripts: Set of meditations, "I Want to See" in English with 2 watercolor illustrations, composed while blind after an operation in November 1969.Publications: A signed manuscript of a variant text and marked proofs of 12 illustrations of work proposed for his "Naar een Internationale Werkgemeenschap" (1931); the illustrations and proofs, unlike the versions published, are captioned and dated (1927-1931). With a copy of the publication in its finished form.
Summary: This scrapbook seems to have been put together by Wijdeveld to document, through newspaper clippings and photographs, an exhibit of Frank Lloyd Wright's work that was designed by Wijdeveld and traveled in Europe in 1931. The exhibit began in Amsterdam, May 1931 and traveled to Berlin, Stuttgart, Antwerp, and Brussels from May through October 1931. Besides newspaper articles about Wright and reviews of the exhibit, there are photographs of installations and the poster designed by Wijdeveld, and plans of the various exhibit venues. Also included is a Christmas card from Wijdeveld and his wife Ellen to Wright and the Taliesin Fellowship, 1947.
Summary: 24 drawings and 1 text panel for the unrealized "Berlin Free Zone" project by architect Lebbeus Woods. Woods designed irregularly shaped spaces that cut through existing buildings and interconnect in a network spread across the old city center. The drawings are mixed media elements spliced together, mainly: electrostatic printing, colored pencil, pastel, and ink on paper.
Summary: Twenty journals dating from May 17, 1988 to April 4, 1997 containing notes from lectures and classes; observations made during symposia; descriptions of people and events; and drawings (an average of 20 drawings per journal). Many of the journals deal with his experiences in Bosnia during the war with Serbia and Croatia.
Summary: This interview with Eric Lloyd Wright, grandson of Frank Lloyd Wright and son of Lloyd Wright, was conducted by the Wrightian Association in May 1989. Topics include Eric Lloyd Wright's apprenticeship under his grandfather for eight years (beginning at age 18), his practice with his father for 22 years (1956-1978), his own architectural practice (1978-present), the relationship between his grandfather and father ("turbulent"), his father's contribution to the development of the textile block system of concrete construction (steel webbing), his own house site and its development, his grandfather's daily schedule and approach to design sources (as going beyond the Japanese concept of "opening out", rather than imitating forms), etc.
Summary: Scrapbooks hold clippings and other printed matter that document Wright's projects, reputation and fame. Microfiche made from originals, which remain at the Frank Lloyd Wright Foundation, Taliesin West.
Summary: Microfiche made from original papers at Taliesin West (ca. 15 lin. ft.). Specifications for selected buildings are identified by project number. Original documents remain at the Frank Lloyd Wright Foundation, Taliesin West.
Summary: 1 square perforated concrete block produced by Restoration Associates as a reproduction of those designed by Frank Lloyd Wright for the Samuel Freeman House in Hollywood, California.
Summary: Scrapbooks hold clippings and other printed matter that document Wright's projects, reputation and fame. Microfiche made from originals, which remain at the Frank Lloyd Wright Foundation, Taliesin West.
Summary: The collection contains approximately 150 letters and cablegrams between Frank Lloyd Wright and Rudolph Schindler (1914-1929 and undated), with about 12 other items, including a photograph of Wright (ca. 1920), handwritten notes and financial accounts by Schindler, manuscripts of essays, Schindler's telephone book, and specifications for the Imperial Hotel. Most of Wright's letters are handwritten, all of Schindler's letters are carbon copies, except for a few handwritten cablegram forms. The collection was part of Schindler's personal papers, and was acquired through his son.The correspondence begins with a letter from Schindler (undated but probably 23 November 1914) asking about the possibility of a position with Wright. It ends in August 1929 with Wright's letters of recommendation for Schindler to present to the architecture licensing board in California. In between, the majority of the letters concern the Imperial Hotel (Teikoku Hoteru) which Wright is working on in Tokyo (1915-1923), and the Barnsdall house group in Los Angeles (1917-1924) which Schindler is supervising for Wright from Chicago and, beginning late in 1920, from Los Angeles.Wright's letters from Tokyo give details about the design and construction of the Imperial Hotel, especially the foundation engineering and the utility systems, and include occasional sketches. He requests boring machines, contracts, the detailed drawings he has asked Schinder to make for the Imperial Hotel and the Barnsdall project, and news. His letters include references to others who are involved in the Imperial Hotel project, especially Aisaku Hayashi (Managing Director of the Imperial Hotel), Baron Okura (Chairman of the Board of the Hotel), the Chicago contractor Paul Mueller, and Wright's draftsmen, Antonin Raymond and Will Smith. Wright also discusses the design of the Barnsdall project and the difficulties raised by the client. Several letters include personal subjects, such as Louis Sullivan, Wright's companion Miriam Noel and their troubled relationship, Wright's mother, his son Lloyd Wright, and his own illness while in Tokyo.Schindler's letters give details of the work he is doing to reconfigure Wright's Oak Park house into separate rental units. He relates news about Lloyd Wright who is in Los Angeles ready to begin construction on the Barnsdall house (called Hollyhock house), and about the difficult Aline Barnsdall. He recommends his friend Richard Neutra to Wright, and alludes to other jobs, including the Shampay house (1919) and his efforts to build a house for himself in Los Angeles (Schindler-Chase house, 1921). A file of eight letters (1922) between Schindler and Wright relate to the design of a house for Mrs. Charles P. Lowes in Eagle Rock, California.The three essays appear to be by Wright. One consists of a four page draft of his autobiography, the others are short, poetic manifestos about art.
Summary: Photographs of architectural drawings in the archives of the Frank Lloyd Wright Foundation, Taliesin West, Scottsdale, Arizona. Includes photographs of plans, elevations, sections, details and perspective drawings for realized and unrealized projects. Also includes photographs of decorative art designs and historical images of buildings.
Summary: Request for a bank loan to expand the Taliesin Fellowship. Summary of the history and purpose of the first three years of the Fellowship (3 p.) and detailed outline of construction completed or planned for four units: Taliesin; Hillside; Midway; and Hilltop Theater, water reservoir, and tower (8 p.). Cost estimates (2 p.). Assets and liabilities (2 p.). Title page and cover folder (with red square).
Summary: Forty-eight architectural drawings and one color rendering by John Lloyd Wright for the La Jolla, California residence of Dr. and Mrs. Burnett W. Wright. The drawings are joined by miscellaneous papers including a list entitled Notes for preliminary estimate, a contract for the construction of the gate and fence, a letter from Wright to his clients together with an exhibition catalog about the project, and printed ephemera regarding the property.
Summary: Letters about his parents and about his own work as an architect. With a chronological list of his buildings.
Summary: Articles on Lloyd Wright with ephemera relating to his buildings, with an original color photograph of Lloyd Wright at Hollyhock House, ca. 1970.Newspaper clippings, broadsides and publications refer to Hollyhock House, the Hollywood Bowl, the First Christian Church in Thousand Oaks, and the Wayfarer's Chapel in Palos Verdes. An issue of SD: Space Design (November 1979) is devoted to the work of Lloyd Wright.
Summary: Photographs of Lloyd Wright's architectural drawings exhibited at the Protetch Gallery, New York. The designs represent private residences (39 items), churches and religious institutes (11 items), airports (5 items), commercial developments (5 items), the Los Angeles Civic Center (4 items), rookeries (3 items), and other miscellaneous projects including the Children's Theater at Barnsdall Park, the facade of the Fairfax Theater and the shell of the Hollywood Bowl.
Summary: Photographs printed from negatives belonging to Eric Wright (mostly 4"x 5" glass plates) of buildings by Lloyd Wright, and by F. L. Wright that Lloyd worked on with his father. Arranged by project numbers, I - XVI. Olive Hill, Los Angeles: Residence B, Barnsdall (Hollyhock) house and other buildings of the complex (F. L. Wright) (I, VI) 26 photographs; Oasis Hotel, Palm Springs, 1923 (II, IV) 38 photographs; John Sowden house, Los Angeles, 1926 (III, XI, XVI) 42 photographs; Hollywood Bowl, Los Angeles (V, X) 16 photographs show Lloyd Wright's two shell designs of 1924-25 and 1928; Swearington house (i.e., Storer House by F. L. Wright) (VII), Harry Carr house, Los Angeles, 1925 (VII), 21 photographs; Lawrence Tibbett house, 1930 (VIII) 48 photographs; Willis House (IX) 9 photographs of model; Samuel Freeman house (F. L. Wright), 1924 (XII) 14 photographs; Catholic Cathedral project for Los Angeles, 1931 (XIII) 16 photographs of model; Samuel-Navarro house 1926-1928 (XIV) 15 photographs; Martha Taggert house, 1922 (XV) 15 photographs.
Summary: Design drawings for Lloyd Wright's studio (architectural office) and residence built in 1927 in West Hollywood. Included are one hundred and thirteen plans, elevations, sections, details and sketches. Many of the drawings contain titles or annotations by the architect, including specifications. The designs reflect the design development and encompass interior decoration. Also included is a series of designs from the 1960s for additions to the building, remodelling projects and new interior decoration. With a series of one hundred and ten photographs (870143), taken at the time of construction and more recently.