William S. Huff Papers Hochschule für Gestaltung Collection

MS 139

______

Note: This inventory is incomplete. Item descriptions provided by William S. Huff.

Terms of Access: This collection is unprocessed. Permission to use unprocessed materials requires the approval of the University Archivist. Contact University Archives at 716-645-2991 or lib- [email protected] for more information.

Container List

Box 1 1.8a Academic document: “Resolution of the ‘Hochschule für Gestaltung’, Ulm (Ulm School of Design),” dated 23 February 1968, pp.3.

1.8b Academic document: “Dossier – the preparation for the end of the HfG,” [dated 23 February 1968, pp.6.

1.8c Academic document: “press information: the present programme of the design school, ulm,” dated 23 February 1968, pp.3.

1.8d Academic document: “statement of hfg affairs,” dated 16 February 1968, pp.1.

1.8e Academic document: “report from the student-body of the hfg, ulm, on the occasion of the memorial celebration of the 25th anniversary of the execution of the gescheister scholl,” dated 2 February 1968, pp.4. 1.8f Academic document: “wir protestieren gegen den Mord an der HFG” [We protest the murder of the HFG] [1968], pp.1.

1.8g Academic document: “murder! the hfg is being murdered,” [1968], pp.1. Note: A collection of seven papers (only one in German) regarding the closing of the HfG were mailed to me on 25 March 1968. Herbert Ohl, who had become a good friend, was the Rektor of the school. Since the one paper is marked “Mr. Huff” in red, it was undoubtedly sent to me from the HfG office rather than from him personally. One reason that all these papers were translated into English probably has to do with one exploration to save the HfG by relocating it in the US or Canada—which never got very far.

1.7a Advertising flier: “Ulmer Münz”. Note: Facsimilies of an antique silver coins were struck in silver for sale in the 1950s. Ulm had once had a silver mint. The view of Ulm is one of several famous prints; the hill to the left of the Münster is marked Kuheberg, (with an “e”) where the HfG was located.

1.7b Theater bill: “Iphigenie auf Tauris: Ein Schauspiel,”.by Johann Wolfgang Goethe, Ulmer Theater-Podium, 1981/82 Note: In the rejuvenation of devastated post-WW2 Ulm, three institutions were greatly supported: the reinstituted Volkshochschule, the HfG, and the Ulmer Theater. For some years, the Theater was located in a former church below the Kuhberg. Eventually, it got William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 2

its own modern building near the northern section of the Roman wall. Stage sets were sometimes designed by HfGers.

1.7j Academic document: Gruppe ‘HfG-Idee,” “Feststelllungen in Sachen HfG,” 16 February 1968, pp.2. Note: This was separately received from the above documents.

1.7c Poster: “Bauhaus Weimer Exodus 1; Hochschule für Gestaltung Ulm Exodus 2,” 19 Feb. 1968 Note: English version of this poster. It is a call to find a new residence for the HfG.

1.7i Xerox of Post-HfG academic document: “Projektbezogenes Aufbaustudium am institute fur umweltplannung Ulm [von Institut vergeschlagener Name],” [1969] Note: After the HfG closed in 1968, several attempts were made to establish another school in the HfG buildings.. Das Institut für Umweltplanning, was instituted under the University of Stuttgart on 14 October 1969. After this failed, the buildings were abandoned and fell into disrepair. Fortunately, the city of Ulm restored it—replacing all the wooden framed windows and roof. It was turned over to the new University of Ulm (founded after the HfG on the Aselsberg) for its Department of Psychology.

1.7h Xerox of Post-HfG academic document: “1. Vorgeschichte,” [first part of Projektbezogenes Aufbaustudium am institute fur umweltplannung Ulm],” [1969] Note: This the first part of the prior document..

1.7e Proof sheets: eight proofs of “Design ‘Hochschule’ emerges” [Industrial Design]. Note: This was probably the first major article on the Hochschule in the American journal, Industrial Design.

1.7d Letter with attached editor’s note: Hugh B. [Johnston] at Industrial Design to wsh, 13 iii 57. Note: The letter was written by the brother of my sister-in-law, Suzanne Johnston Huff and sent to me while I was at the HfG. As he noted, he had little to do with this article, though we had been in touch with him because of the chance relationship. [envelope, item 1.7f]

1.7g Clipping of article in journal: William Muschenheim, “A Report of European Schools of Architecteure,” AIA Journal, July 1959, pp.23-27. Note: Early report about the HfG. See: pp 26-27. It was noted that the HfG had dropped Architecture for Industrial Building.

1.9 Clipping of article in journal: “The German Tradition,” Holiday (an entire issue devoted to Germany today), October 1964, pp.66-73. Note: Otl Aichar, as Rektor of the HfG, is among the personages who are highlighted..

1.1 Journal: architheses 15: hfg ulm; ein ruckblick, une re’trospective, ed. Claude Schnaidt, Verlag Arethur Niggli AG, 1975. Note: Includes two works of students of W. S. Huff.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 3

1.5 Article in journal: W. P. Jaspert, “Design – The Death of Creation?” ARK: The Journal of the Royal College of Art, No. 29, Summer 1961, pp.24-25. Note: An early criticism of HfG design.

1.2 Article in journal: Pio Manzù, “Situazione e programmi alla Scuola di Ulm” Marcatré, No. 14/15, 1965, pp.169-177. Note: An early, comprehensive article in the HfG, including curricular tables—showing the interest of Italy in this school and especially of Umberto Eco, friend of Maldonado.

1.3 Article in journal: Kenneth Frampton, “Apropos Ulm: Curricular and Critical Theory” Oppositions 3, May 1974, pp.17-36. Note: An important early history of former HfG. Three of students’ works from Carnigie- Mellon under instruction of wsh (p.23). In same journal, Symmetry 6 by wsh (pp.63-78).

1.4 Letter to the Editor in journal: William S. Huff, “Apropos Ulm: Curricular and Critical Theory” Oppositions 4, October 1974, pp.161-162. Note: A response to Framptom’s .“Apropos Ulm: Curricular and Critical Theory,” attempting to clarify the suspension of the Grundlehre at the HfG.

A group of photocopies of documents sent out in 1968, at the time of the closing of the HfG 1.6c Xerox of newspaper clipping: “‘Ermordet wird die HfG’: Vor der Entscheidung über die Zukunft der Hochschule” + “FDP-Anfrage zur Ulmer Hochschule für Gestaltung,” Stuttgarter Nachrichten, 20 February 1968.

1.6b Xerox of newspaper clipping: “Unabhängiges Gremium gesucht: Zur Lage der Ulmer Hochschule für Gestaltung.” Frankfurter Allgemeine Zeitung, 9 December 1968.

- Academic document: “statement of hfg affairs,” dated 16 February 1968, pp.1.

- Academic document: “report from the student-body of the hfg, ulm, on the occasion of the memorial celebration of the 25th anniversary of the execution of the gescheister scholl,” dated 2 February 1968, pp.4.

1.6o Xeroxed news clipping: “Ulm Scholl Carries On Bauhaus Aims,” New York Times, 4 February 1956….?.

1.6g Xeroxed news clipping: “Triennale in Mailand” + “Ein Einhorn hat Schulden,” Frankfurter Allgemeine Zeitung, 20 February 1968.

1.6h Xeroxed news clipping: “HfG-Studenten drohen: Wir gehen; Oberbürgemeister Dr. Pfizer ist mit jedem neuen, brauchbaren Vorschlag einverstanden,” Neu-Ulmer Zeitung, 21 February 1968.

1.6d Xeroxed news clipping: “Wir verschaukelt man eine Hochschule? Die Ulmer Hochschule für Gestaltung ist in Gefahr,” Süddeutsche Zeitung, 21 February 1968.

1.6e Xeroxed news clipping: “‘xxss deshalb den Forschlag des Kultusministeriums ablehnen’: xxs Briefs der HfG an den Ministerrat in Stuttgart” + “HfG: Noch keine Stellungnahme” + “HfG Ulm zur Ingenieurschule,” Südwest Presse, 22 February 1968. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 4

1.6f Xeroxed news clipping: “Kabinett beschließt Anschluß an Ingenieurschule,” Südwest Presse, 22 February 1968.

1.6i Xeroxed news clipping: “In der Mordsache HfG: Landesregierung für Angliederung an die Ulmer Ingenieurschule,” Stuttgarter Zeitung, 22 February 1968.

1.6a Xeroxed clipping from journal: “Hochschule für Gestaltung Ulm – scheinheilig liquidiert?’” Werk und Zeit, Vol. 17, No. 3, March 1968, pp.3.

1.6j Xeroxed news clipping: “Optimismus,” Südwest Presse, xx October? 1969.

1.6l Xeroxed news clipping: “Immer wieder enttäuschte Design-Bewerber,” Schwäbische Zeitung, 27 December 1969.

1.6m Xeroxed news clipping: “Fraglicher Frühling auf dem Kuhberg: Die Ulmer Hochschule und die alten Schwierickeiten,” Frankfurter Allgemeine Zeitung, xx April? 1970?.

1.6k Xeroxed news clipping: “Auf dem Kuhberg: Beginn des ersten Semesters: 20 neue Studenten und sechs Dozenten am Institut fur Umweltlpalnung” + “ Studienbetrib noch unmöglich,” Südwest Presse, 16 April 1970.

1.6n Xeroxed clipping from journal: “Was ist aus der Hfg geworden? Die Konzeption des ‘Instituts für Umweltplanung,’” Werk und Zeit, Vol. 19, No. 2, February 1970.

1.6p Xeroxed clipping from journal: “Der Verfall von Ulm – die HfG heute” + “Nostalgie in Ulm – Treffen der HfG’ler?,” form, II 1974, p.48. Note: These are not attractive documents. However, they document the public reports on the final days of the HfG.

Box 2 2.1 Maldonado, Tomás. El arte concreto y el problema de lo ilimitado. Notas para un studio teorico / Concrete Arts and the Problem of the Unlimited. Notes for a Theoretical Study. (Ramona, March 2003)

2.2 Ulmer Modelle, Modelle nach Ulm: Hochschule für Gestaltung Ulm 1953-1968. Ostfildern: Hatje Cantz; New York, NY: 2003. 2 copies

[Three-ring binder located in box 2] 2B.1 Original photographic print, © Hans G. Conrad: the new buildings, Hochschule für Gestaltung (HfG), ca. 1955-1956 Note: The new buildings of the HfG were dedicated in October 1955, two years after the founding of the school; this photograph was probably taken in fall 1955 or winter 1956. Hans (Cony) Conrad was said to have been the first student of the school. I attended the school as a Fulbright student during the academic year 1956-57 During that year, I helped Inge Aicher-Scholl plan her trip to the U.S. in early 1957. it was planned that I should write an article on the school for the Architectural Record. The article did not come to fruition; however, I believe Inge Aicher requested that Hans Conrad furnish me with photographs for the proposed article.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 5

2B.2 Original photographic print, probably from Hans G. Conrad: “Bambi,” the original HfG mascot, on seating ledge of the Mensa terrace, overlooking the Danube Valley Note: Bambi, named for the Walt Disney film, had the run of the school, but stayed mainly around the Mensa and the coffee bar, which is, of course, near the kitchen. Conrad had the first atelier at the west side of the terrace. Bambi was in general indifferent to the human inhabitants of the school, but mainly showed attachment to Cony.

2B.3 Original photographic print, © Hans G. Conrad—notation, “BILL,” ca. 1955-56 Note: This was probably photographed to the west of the entrance hall, between the Mensa wing and the Workshop/Studio wing.

2B.4 Original photographic print, © Hans G. Conrad—notation by wsh, “MAX BILL OVERSEEING CONSTRUCTION OF THE HOCHSCHULE BUILDINGS,” ca. 1955 Note: This was probably photographed to the west of the entrance hall, between the Mensa wing and the Workshop/Studio wing.

2B.5 Original photographic print, © Hans G. Conrad: Inge Aicher-Scholl, ca. 1955

2B.6 Original photographic print, © Hans G. Conrad—notation by wsh, “FRAU AND HERR AICHER,” ca. 1955 Note: Danube Valley in the background.

2B.7 Original photographic print, © Hans G. Conrad—notation by Cony, “frau aicher and the poet zuckmayer,” ca. 1955 Note: The notation was most likely made by Conrad. Note use of lower case.

2B.8 Original photographic print, © Hans G. Conrad: Otl Aicher, downtown Ulm, ca. 1953 Note the small blackboard and long chalk ledge; these are the same features as are in the photograph of Peterhans

2B.9 Original photographic print, © Hans G. Conrad—notation by Cony, “otl aicher,” ca. 1955 Note: The student was in the entering class of 1955-1956.

2B.10 Original photographic print, © Hans G. Conrad—notation by wsh, “BILL WITH ARCHITECTURAL DEPT.,” ca. 1955 Note: This student nearest Bill is Maurice Goldring.

2B.11 Original photographic print, © Hans G. Conrad:—Hans Gugelot with students, probably in Produktform, ca. 1955 Note: This whitewashed block wall locates this in the new building.

2B.12 Original photographic print, © Hans G. Conrad—notation by wsh, “ALBERS WITH CLASS,” ca. 1955 2B.13 Original photographic print, © Hans G. Conrad—notation by wsh, “ALBERS,” ca. 1955

2B.14 Original photographic print, © Hans G. Conrad—notation by wsh, “MALDONADO”: ca. 1955 Note: This is the Grundlehre class of 1955-56; Dominique Gilliard, far left..

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 6

2B.15 Original photographic print, © Hans G. Conrad—notation by Cony, “peterhans (4 years ago),” downtown Ulm, 1953 Note: Cony’s notation essentially establishes two things: (1).that this notation was made by Cony; (2) that I received the prints in 1957. Walterpeterhans, a Bauhäusler, was the first visiting teacher at the new school

2B.16 Original photographic print, © Hans G. Conrad—notation by wsh, “VORDEMBERGE- GILDEWART,” from 1954-55 Note: My first contact to the HfG was through Friedrich Vordemberge-Gildewart, whom I met in Amsterdam, The Netherlands in 1953 and from whom I bought a painting in 1954.

2B.17 Original photographic print, © Hans G. Conrad: Hans Friedrich Vordemberge-Gildewart, from 1954-1955 Note: For a period, Vordemberge (V-G) had two studios at the HfG. One was in the space between the side-by-side Dozent duplexes, whose subdivision was negotiated by the original two residents. The other was immediately above the staircase that led to the Visuelle Kommunikation department

2B.18 Original photographic print, © Hans G. Conrad—notation by wsh, “VORDEMBERGE- GILDEWART,” from 1954-1955

2B.19 Original photographic print, © Hans G. Conrad—notation by wsh, “KONRAD WACHSMANN WORKING WITH CLASS ON PROBLEM OF INDUSTRIALIZED BUILDING,” 1956-1955 Note: Behind Wachsmann: Maurice Goldring, Claude Schnidt, Ello Delugan(?); in front, Renate Prince.

2B.20 Original photographic print, © Hans G. Conrad—notation by Cony, “bense,” ca. 1955

2B.21 Original photographic print, © Hans G. Conrad—notation by Cony, “v. baravalle,” October 1956 Note: Lower right corner: Nick Chaperos.

2B.22 Original photographic print, © Hans G. Conrad—notation by Cony, “prof. walther from Darmstadt giving a lecture about number - theory,” 1956 Note: In academic 1956-57, there was no furniture in the lecture rooms except a drafting- board desk and a chair. Each student brought the Hocker that was provided at his work station and took it away after the class.

2B.23 Original photographic print, © Hans G. Conrad—notation by Cony, “prof. fransen from darmstadt giving lectures in social psychology,”

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 7

2B.24 Original photographic print, © Hans G. Conrad—notation by Cony, “nonné-schmidt in the grundlehre,” 1956 Note: This is a student in my 1956-57 Grundleher; he is the one Italian-Swiss in the class.

2B.25 Original photographic contact print, by Nick Chaparos, Helene Nonné-Schmidt, 1956- 1957 Note: This was shot during the 1956-57 Grundleher; Helene Nonné was lecturing on the color solid (sphere) of Woifgang Runge’s Color Theory. When the camera snapped, she said in English, “Mr. Chaparis, I do not like that.” However is was common for students to shoot their camera in class. She is know by Nonné-Schmidt and by Schmidt-Nonné.

2B.26 Original photographic print, © Hans G. Conrad—notation by Cony, “1955-56 grundlehre.” Note: This was the year of the dedication of the HfG’s new buildings and the move of the students from the city (from the Volkshochschule in the present Ulmer Museum) to the Kuhberg. Since a number of rooms, specifically those in west wing of the studio/workshop section of the HfG (where the 1956-1957 Grundlehre was located), this class was located in an area that was eventually occupied by the Department of Visual Communications.

2B.27 Original photographic print, © Hans G. Conrad—notation by Cony, “grundlehre.” Note: Also, the 1955-1956 Grundlehre.

2B.28 Original photographic print, © Hans G. Conrad—notation by Cony, “plaster-workshop.” Note: Frauke Kochweser. The Plaster Workmaster, Schild, is the half figure to the right.

2B.29 Original photographic print, © Hans G. Conrad—notation by Cony, “wood-workshop.”

2B.30 Original photographic print, © Hans G. Conrad—notation by Cony, “metal-workshop.”

2B.31 Original photographic print, © Hans G. Conrad—notation by Cony, “students in the wood-workshop.” Note: Frauke Kochweser to the left.

2B.32 Original photographic print, © Hans G. Conrad—notation by Cony, “grundlehre in the plaster-workshop.” Note: These are students of my 1956-57 Grundlehre. From left to right: unidentified, a Swiss, Plaster Master Schild, Yedda Lucia Pitanguy from Brazil, unidentified, Dutchman, Glean Chase from Trinidad, who was married and had children who were in the US.

2B.33 Original photographic print, © Hans G. Conrad—notation by Cony, “Robbins.” Note: Warren Robbins was the US Consul in Stuttgard—a friend of the school. I believe his interest was in semantics. Robbins’s lectern is a Bill/Hildinger Hocker (the stool used throughout the school). Its use this way was a common practice

2B.34 Original photographic print, © Hans G. Conrad—notation by wsh, “WARREN ROBBINS CONSUL STUTTGART GUEST LECTURER.” Note: Behind Wachsmann: Maurice Goldring, Claude Schnidt, Ello Delugan(?); in front, Renate Prince.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 8

2B.35 Original photographic print, © Hans G. Conrad, 1955-1956 Grundlehre, 1956-1957. From front to back: Thomas Dawo, wsh, Sven Weisshart. Weisshart is one of the few students to have been in the German army during the war—most were too young. The Maldonado Aufgabe, displayed on the wall (and being executed) was “Vordergrund- Zweideutig-Hintergrud.”

2B.36a Original photographic prints, three snapshots of wsh, 1956-57. Note: The shot of wsh napping was taken at the newspaper corner of the Mensa, near the formal entrance.

2B.37 Original photographic prints, four snapshots of wsh, 1956-57. Note: These were perhaps shot by Hans Conrad, since two match a larger print. While three of these were shot during the Maldonado Aufgabe “Vordergrund, etc.”; A fourth was taken while wsh (front) was executing a watercolor for Nonné Schmidt’s Grundlehre segment regarding the Theory of Color.

2B.38 Original photographic print, photographer unknown (possibly Chaparos or Mukai), wsh with Yedda Pitanguy in he graveyard at a small Baroque Church near Ulm, probably Oberelchingen, 1956-57. Note: Pitanguy was the daughter and sister of two famous Brazilian plastic surgeons. 2B.39 Photographic printed on a postcard format, Hans von Klar, with unidentified friend, 1956-57.

2B.40 Photographic printed on a postcard format, Hans Gugolet, 1956-57.

2B.41 Photographic printed on a postcard format, Sisi Maldonado and Hans Gugolet (probably with Chaparos), 1956-57.

2B.42 Photographic printed on a postcard format, Sisi Maldonado and Nick Chaparos (probably with Gugolet), 1956-57.

2B.43 Photographic printed on a postcard format, Nick Chaparos, 1956-57.

2B.44 Photographic printed on a postcard format, Sven Weisshart and Nick Chaparos, 1956-57.

2B.45a Original photographic print, snapshot: wsh—written on back: Chaparos apartment, spring 1964; photo by Chaparos

2B.45b Original photographic print, snapshot: wsh—written on back: Chaparos apartment, spring 1964; photo by Chaparos

2B.45c Original photographic print, snapshot: wsh at conference—written on back: Waterloo, May 1964; photo by Chaparos Note: the Converence in Waterloo was organized by Martin Krampen, former HfG student, along the lines of HfG topics.

2B.45d Original photographic print, snapshot: wsh at conference—written on back: Waterloo, May 1964; [Leonard] Kitts, [Gui] Bonsiepe, wsh, [Charles] Wallschlager photo by Chaparos

2B.45e Original photographic print, snapshot: wsh—written on back: with Gloria Naubur [in Ulm], Spring 1962 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 9

Note: Gloria Naubur was my studest at the HfG—for two semesters.

2B.46a Original photographic print, snapshot: wsh—written on back: Chaparos apartment, spring 1964; photo by Chaparos

2B.46b Original photographic print, snapshot: wsh + Bonsiepe—written on back: Chaparos apartment, spring 1964, Gui Bobsiepe +; photo by Chaparos

2B.46c Original photographic print, snapshot:Bonsiepe—written on back: Chaparos apartment, spring 1964, Gui Bonsiepe; photo by Chaparos

2B.46d Original photographic print, snapshot:Bonsiepe—written on back: Chaparos apartment, spring 1964, Gui Bonsiepe; photo by Chaparos

2B.47 Original photographic print, Isle Grubrich—notation by Grubrich, “ as a souvenir for lausanne and h.f.g time / with my best wishes / ilse grubrich,” 1956-57. Note: A group of us took a weekend trip to Lausanne, Switzerland, when and where Grubrich shot this photogaph.

2B.48a Original photographic print, by wife of Shutaro Mukai—notation by wsh, “Dec 1963 / photo by Mukai’s wife,” Dec. 1963. Note: Shutaro Mukai was a classmate at the HfG in the 1956-57 Grundlehre. Like me, he studied there dring only this year. However, he returned frequently to the HfG to carry on his own research under Tomás Maldonado. This photograph was taken in their flat. I had returned to the HfG as a guest teachere.

2B.48b Original photographic print, by Hans Schmied—notation by wsh, “Mar 1965 / photo by Schmied,” Mar. 1965. Note: This in-class photograph, made by student Hans Schmied, was shot during wsh’s instruction in the first year of the Visuelle Kommunikation-Abteilung.. Hand-ins for my assignment, Conflicting Depth Cues, are mounted on the wall.

2B.49a Original photographic print, by Hans Schmied—notation by wsh, “Mar 1965 / photo by Schmied,” Mar. 1965. Note: This in-class photograph, made by student Hans Schmied, was shot during wsh’s critique of the work of student Max Niederer xx for my assignment, Conflicting Depth Cues, in the first year of the Visuelle Kommunikation-Abteilung.

2B.49b Original photographic print, by Hans Schmied—notation by wsh, “Mar 1965 / photo by Schmied,” Mar. 1965.

2B.50 Photographic print from slide, by wsh, Tomás Maldonado—notation by wsh, “May 1981; Maldonado, via Manzoni / photo by Mukai’s wife,” Dec. 1963 Note: The photograph was made in Maldonado’s apartment in Milan, Italy.

2B.51a Photographic print from slide, by wsh, Tomás Maldonado—notation by wsh, “May 1981; Maldonado, via Manzoni / photo by Mukai’s wife,” Dec. 1963 Note: Maldonado is holding wsh’s gift of a replica of Univ. of Buffalo student Lisa Liu’s design of a mirro-rotation object in his apartment in Milan, Italy; replica was made at Schwäbish Gmünd.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 10

2B.51b Photographic print from slide, by wsh, Tomás Maldonado—notation by wsh, “May 1981; Maldonado, via Manzoni / photo by Mukai’s wife,” Dec. 1963

2B.52 Address card of Herbert Kapitzki [n.d.] Note: Kapitzke was the head of the hfg’s Depaartment of Communication in the final years of the school. This card may be from after the closing of the HfG in 1968.

2B.53 Original photograph of one of Otl Aicher’s studio buildings at Rotis with note to wsh from Inge and Otl Aicher, 5 March 1988

2B.54 Notice of preference for memorial contributions in regard to death of Otl Aicher, 1991

2B.55 Memorial photograph of Otl Aicher in regard to his death, 1991

2B.57-58 Exhibition notice “ringl + pit,” by HfG Archiv, shown in Ulmer Museum, 1994

2B.59-60 Exhibition notice “Walter Peterhans,” by HfG Archiv, shown in Ulmer Museum, 1994

2B.61 Original photographic print at the University of Cincinnati, Anne Glenn—notation by Chaparos, “ L to R. Dimitris Fatorous, Tomas Mal[d]onado, Jay Chatterjee, 5-1989” with note from Nick Chaparos and calling card Note: This was shot at the time that Maldonado lectured at the University of Cincinnati, third in a trio of lectures; the first was given at Columbia, the second, at the University at Buffalo.

2B.62 Postcard of the entry, HfG, photograph by Claus Wille with note to wsh from Christiane Wachsmann, 8 February 1993 Note: Wachsmann was the first director of the HfG Archiv.

2B.63 Memorial photograph of Otl Aicher, Timm Rautert Note: Aicher is working on his design of the well known. font, Rotis.

2B.64 Announcement for seminar: “Design Education: Ulm and After,” 1989 Note: Aicher is working on his design of the well known. font, Rotis.

2B.65 Map by Shutaro Mukai of landmarks in Tokyo Note: This was drawn in regard to my first visit to Japan, 1986.

2B.66 Note from Nick Roericht on ProduktEntwicklung: Hans Roericht stationery, 21 October 1989 Note: Nick and Hans Roericht are one and the same.

2B.67 Announcement of exhibition: “Typographic Treasures: Josef Müller-Brockmann, Posters 1948-1981,” 1990

2B.68 Announcement of exhibition: “NYC/AIA, Louis I. Kahn” 1986

2B.69 Reproduction of Christmas card of Louis and Esther Kahn, design by Louis Kahn

2B.70 Reproduction of Christmas card of Louis and Esther Kahn, design by Louis Kahn with note from Esther Kahn William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 11

2B.71 Inkless relief cut-out: “Louis I. Kahn: In the Realm of Architecture” 1986

2B.72 Greeting card from University of Pennsylvania with design by Robert le Ricolais Note: The world famous Le Ricilais was a close associate of Kahn at the University of Pennsylvania.

Box 3 News clipping: “US-Botschafter McGee in Ulm zu Besuch,” Schwäbische Donau Zeitung (29 January 1965). [1 page]

News clipping: “McGee: “Ulm ist in USA bekannt,” : Südwest Presse: Ulmer Tagblatt (29 January 1965). [2 pages]

Papers on the visit to Tomás Maldonado to the School of Architecture and Environmental Design, University at Buffalo—1988-1989; also papers about the publication of Maldonado’s lectures in Intersight I am surprised that there is so much paper regarding this matter. For this visit, Tomás Maldonado prepared three different papers (sometimes called the Three American Lectures)—all critically addressed Deconstructionism. They were given in April 1989 at (1) Columbia University, (2) University at Buffalo, and (3) University of Cincinnati, the host institution. (Original manuscripts of these lectures are already in Special Collections.) The three lectures were published together in the first issue of Intersight, SA&ED’s new publication, in 1990. They were later republished in a Festschrift (70th birthday) by Feltrinelli in 1992 in English and Italian. There was a more recent Festschrift published in Buenos Aires in Spanish— for which I wrote an introduction. I worked on the editing of the lectures for Intersight. For a period, there were daily FAXes between us—which we thought was a wonder of speedy communication, before email had become fully developed (William S. Huff).

Three lectures on the Modern

In 1989, Director of Design Nick Chaparos, my compatriot at the HfG in 1956/57, with the support of his dean, Jay Chatterjee, was able to bring Tomás Maldonado to Cincinnati University’s College of Design, Architecture, Art, and Planning (DAAP) for a visit of several days. We at the University at Buffalo took the opportunity to invite him to our school; and Columbia, probably through Kenneth Frampton, had done the same. Maldonado gave a trio of lectures at each place, all addressing Post- Modernism. The University at buffalo took further advantage of this occasion by publishing the three lecture in its first issue of Intersight. These lectures were republished in a Festschrift to mark Maldonado’s 70th birthday in 2002; and they were issued again in Spanish in 2004in an Argentine publication, for which William Huff wrote a prolog. “Is architecture a text?” was given at Columbia University on 24 April; “Modern Architecture and its Critics” at the University at Buffalo, 25 April; “Design and the Future of the Environment” at Cincinnati, 27 April. He gave additional seminar lectures at Cincinnati on 28 April. While we were editing the three lectures for Intersight, I had FAX exchanges with Maldonado almost daily. We both thought that this new capacity was a marvelous technological advance.

Two are on European letter-sized paper; one on US letter sized paper There is also Spanish copy of “Modern architecture and its Critics.”

Public lecture: “Is architecture a text?” pp. 13 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 12

This was given at Columbia University’s Graduate School of Architecture, Planning, and Preservation on 24 April 1989. This copy, European letter-size, was given by Tomás Maldonado to wsh.

Public lecture: “Modern Architecture and its Critics,” pp. 12 This was given at the University at Buffalo’s School of Architecture and Planning on 25 April 1989. This copy, European letter-size, was given by Tomás Maldonado to wsh.

Public lecture: “L’architettura moderna e i suoi critici,” pp. 12 The Italian version of the paper given at the University of Buffalo. This copy, European letter-size, was given by Tomás Maldonado to wsh.

Public lecture: “Design and the Future of the Environment,” pp. 11 This was given at the University of Cincinnati’s College of Design, Architecture, art, and Planning on 27 April 1989. It is an abbreviated version of a chapter in Maldonado’s Il futuro della modernitá (Milan: Feltrinelli, 1987). This copy, U.S. letter-size, was given by Tomás Maldonado to wsh.

CV: Curriculum Vitae Tomás Maldonado, Ulm/Donau, Germany This was not an updated CV; the latest date on this CV is 1962. Nevertheless, it is important in regard to Maldonado’s times before his going to the HfG in 1954. Note that he lists himself as a “professor” at the HfG. The only term at the HfG was Dozent and Fastdozent. However, this was a reasonable title for him to assume in respect to the outside world.

Notes of seminar lecture: lecture of Tomás Maldonado, University of Cincinnati, 28 May 1898 [sic], pp. 5 The seminar lecture was given on 28 April 1989. The notes were taken by wsh.

Hand notes of another lecture: Ulm School brought into discussion the Bauhaus itself This was probably given in another seminar at Cincinnati. I made the point at a congress in Istanbul, Turkey in May 2007 that the HfG was Post-Modern. This long forgotten observation of Maldonado can be said to support that position.

Letter: Tomás Maldonado (TM) to William S. Huff (wsh), 19 v 89 The seminar lecture was given on 28 April 1989. The notes were taken by wsh.

Copy of letter: TM to Bruno Freschi, 19 v 89

Letter: wsh to TM, 22 v 89

Letter: wsh to TM, 26 vi 89 A follow up letter to April 1989. I sent a copy of my Theory of Function, in regard to semantics/

Correspondence with Tomás Maldonado concerning his lecturing at the School of Architecture and Environmental Design, University at Buffalo—1979-1987

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 13

There were several initiatives to bring Maldonado to UB from 1979 to 1987, none of which came to fruition. Maldonado did finally visit in 1989. I edited down this file to less than half its original size. The 1988-89 papers on his visit are forwarded separately (William S. Huff).

Reports by Otl Aicher from the Rotis Institut für Analoge Studien • report from rotis institut für analoge studien, “1/88: planung und steuerung” • report from rotis institut für analoge studien, “2/88: erlaubte und verbotene arbeit” • report from rotis institut für analoge studien, “3/88: kommunikation und medizin: das auge” • report from rotis institut für analoge studien, “1/89: design und philosophie” • report from rotis institut für analoge studien, “2/89: die dritte monderne” • report from rotis institut für analoge studien, “3/89: der gebrauch als philosophie” • report from rotis institut für analoge studien, “4/89: ehrendes begräbnis für descartes” • brochure for durst (English), Büro Aicher, Rotis [In Rotis typeface]

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 14

Box 4

Video (VHS) “White Rose” New York: Wet 52nd Street, 10 Feb. 1988 ABC??

Hermann Vinke, The Short Live of Sophie Scholl (New York: Harper and Row, 1980).

Inge Scholl, The White Rose (Middletown, Conn.: Wesleyan University Press, 1970) inscribed

Inge Scholl, Six Against Tyranny (London: John Murray Ltd., 1955) inscribed

Inge Jens, ed., At the Heart of the White Rose, (New York: Harper and Row, 1984). output 14 (Ulm: Studentenselbstverwaltung, (Ulm: Studentenselbstverwaltung, Jahrgang 2, Heft 14, Oktober 1962) output 15 (Ulm: Studentenselbstverwaltung, (Ulm: Studentenselbstverwaltung, Jahrgang 2, Heft 15, 1962) output 17/18 (Ulm: Studentenselbstverwaltung, (Ulm: Studentenselbstverwaltung, Jahrgang 3, Heft 17/18, [1963]) output 19 (Ulm: Studentenselbstverwaltung, (Ulm: Studentenselbstverwaltung, [Jahrgang 3], Heft 19, [1963]) output (1 hole): studentzeitschrift der hochschule für gestaltung ulm 1964 (Ulm: Studentenselbstverwaltung, Jahrgang 3, Heft 20, Januar 1964) output (2 holes): studentzeitschrift der hochschule für gestaltung ulm 1964 (Ulm: Studentenselbstverwaltung, Jahrgang 3, Heft 21, Februar 1964) output (3 holes): studentzeitschrift der hochschule für gestaltung ulm 1964 (Ulm: Studentenselbstverwaltung, Jahrgang 4, Heft 22, März 1964) output (4 holes): studentzeitschrift der hochschule für gestaltung ulm 1964 (Ulm: Studentenselbstverwaltung, Jahrgang 4, Heft 23, Mai 1964) slightly water damaged output (7 holes): studentzeitschrift der hochschule für gestaltung ulm 1964 (Ulm: Studentenselbstverwaltung, Jahrgang 4, Heft 26, November 1964) slightly water damaged

M. Angélica Monero, Gui Bonsiepe, Intec 3 (Chile: Revista del Comité de Investigacions Technológicas/CORFO, Diciembre 1972) Gui Bonsiepe was a HfG student who was closely mentored by Tomás Maldonado; he took the HfG pedagogy/style to Chile.

[Catalog], Naum Gabo Georges Vantongerloo Friedrich Vordemberge-Gildewart: Works on Paper (London: Annely Juda Fine Arts, 1974)

[Catalog], Vordemberge-Gildewar Remembered (London: Annely Juda Fine Arts, 2001)

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 15

Petra Claudia Klug,, Zeitzeugenbefragung VG Jahresbericht 2009 (Osnabrück, Universität Osnabruuck, 2009) [Made on the Mac]

Die Abteilung Bauen an der hfg Ulm: eine Reflexion zur Entwicklung, Lehre und Programmatik, edited by Gerhard Curdes (Ulm: club off ulm e.v., 2001). In this volume there are mentions of wsh: p. 43, p. 47. hfg, ulm: Die Abteilung Pruduktgestaltung, 39 Rückblicke, edited by Karl-Achim Czemper (Ulm: club off ulm e.v., 2010).

Rückblicke: Die Abteilung Visuelle-Kommunikation an der hfg Ulm 1953-1968, edited by Barbara Stempel and Susanne Eppinger Curdes (Ulm: club off ulm e.v., 2010). This volume has the article: William S. Huff. "A Day at Ulm," 84-91.

Box 5

Wita Noack and Martin Krampen,, Décollage International: Recycling von Kulturmüll (Berlin, Mies van der Rohe Haus, 2004) This book gives context to the décollage reproductions of Martin Krampen that are among my HfG papers (see: pp. 32-43); it also includes décollages of Claude Schnaidt another HfG student and teacher (see: pp. 44-51). Helms, Dietrich, book

Bauhaus and HfG Publications: Festschrift: vordemberge-gildewart (Teufen, Switz.: Arthur Niggli Verlag, 1959). See: William S. Huff, “the ironic obscurity of vordemberge-gildewart to american designers who have witnessed, if not participated in, the betrayal of the principles of his constructivist colleagues,” pp. 70-71.

Catalog for Art Gallery of Ontario: bauhaus (Stuttgart: Württembergischer Kunstverein, 1969).

Catalog for Göppinger Gallery: bauhaus: Idee—Form—Zweck—Zeit (Frankfurt: Gemeinnutzige Ausstellung-Gesellschaft, 1964).

Promotional Phamplet—Bijenkorf stores: A picture can bring us harmony (1950). This was put out before I met Vordemberge-Gildewart in 1953. Bijenkorf, the name of a chain of department stores in Holand, means beehive in Dutch. Note the logo on the last page. bauhaus and bauhaus people, edited by Eckhard Neumann (New York: Van Nostrand Reinhold, 1970). Eckhard Neumann was in the same class with me at the HfG in 1956-57. Soon after, he began contacting all the living Bauhaus people that he could find. This was first published in German in 1967.

Metal spiral binder (blue cover): HfG-Synop[se]: [Eine] synchronoptische Darstellung der Hochschule für Gestaltung Ulm—English translation of main illustrations of exhibition, regarding the history and work of the school.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 16

Metal spiral binder (pink cover): HfG-Synop[se]: [Eine] synchronoptische Darstellung der Hochschule für Gestaltung Ulm—English translation of supplemental illustrations of exhibition, regarding the background of the times in the areas of Politics/Economy, Culture, and Science/Technology, and work of the school.

Box 6

Binder 2 Letter: Max Bill to wsh, 18 xii 61 Carbon of letter to Bill may or may not exist.

Letter: Max Bill to wsh, 29 viii 79 A large comprehensive retrospective of Max Bill’s work was mounted by the Albright-Knox Gallery in September, 1974. The day before the exhibition opened, Bill arrive in Buffalo to oversee its final installation, and in the early evening he spoke informally with the students in the School of Architecture in the Meter Building at UB. During this, he told the wonderful story of the libraries at the Bauhaus and the HfG. In 1979, I wrote to Bill and asked if he would recount that story for me.

Enclosure with letter: Max Bill for wsh, [29 viii 79]—“in memoriam: the library”

Enclosure with letter: Max Bill for wsh, [29 viii 79]—xerox of plan of Bauhaus building, marked by Bill

Enclosure with letter: Max Bill for wsh, [29 viii 79]—xerox of plan of HfG buildings, marked by Bill

Curriculum Vitae: Tomás Maldonado, [1961]

Curriculum Vitae carbon copy: Tomás Maldonado, [1961], 2 pages

Tomás Maldonado, “el arte concreto y el problema de lo ultimato notas para un estudio teórico zürich 1648 [sic].” 1949, 3 pages [photocopy; original sent to Yale, 11/11 at the request of wsh.]

Letter: Tomás Maldonado to wsh, 1 v 61 Concerning visit to Aspen Design Conference (Colo.) in June 1961, to be followed by a visit by TM to Pittsburgh, There is a reference to the takeover of the direction of the HfG by the methodologists. This may have been TM’s first visit to the US.

Letter: Tomás Maldonado to wsh (signed by secretary), 24 v 61

Letter: Tomás Maldonado to wsh, 1 v 61

Letter: Tomás Maldonado to wsh, 19 xii 61

Letter: Tomás Maldonado to wsh, 2 iii 62 Maldonado mentions a [car] accident. Carnegie proposes that TM give a guest course at Carnegie, on a Mellon grant, in April 1963.

Letter: Tomás Maldonado to wsh, 16 v 62 “Inofficial” acceptance of invitation to Carnegie Institute of Technology.

Letter: Tomás Maldonado to wsh, 21 ix 62 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 17

TM looks for an official invitation from Dean Rice. Background: Paul Schweikher, Head of Architecture was very enthusiastic for the visit; Dean Norman Rice had antipathy for the Bauhaus. Rice had recently visited the HfG and other schools of Design in Europe.

Letter: Tomás Maldonado to wsh, 10 x 62, 2 pages TM outlines conditions regarding his visit to Carnegie Institute of Technology—proposing four weeks in Architecture; one week in Graphics. To arrive in Pittsburgh on17 March and leave on 20 April 1963; he plans to visit other schools. Will come with his wife Sisi. TM refers in error to Dean Danes, who was dean at Yale, which he also plans to visit; Dean Rice was dean at Carnegie. This letter is exemplary of TM’s preparation for an academic visit.

Letter: Tomás Maldonado to wsh, 31 1 63 In the middle of December, the HfG approved a new constitution. Replacing the methodologists, Aicher was elected Rektor and TM, Prorektor for two years. Change of schedule: arrival 23 March; leave 20 April. TM will teach only in Architecture, but give seminars in Graphics. Suggests that I teach in Ulm during the Fall of 1963.

Letter: Tomás Maldonado to wsh, 12 iii 63

Letter: Tomás Maldonado to wsh, 21 v 63 TM refers to a trip to Buenos Aires. This may have been his first return, since he did not approve of the government. However, I believe he went because there was family business, due to the death of a parent. He refers here to my invitation to teach at Ulm. Mention of the idea to establish a HfG type school in the US.

Letter: Tomás Maldonado to wsh, 4 vi 64 Acknowledgement of my donation of the works of C.S. Peirce to the HfG library. Mention of the visit of Gui Bonsiepe to Carnegie. Another trip to Buenos Aires. Proposes that we meet in New York.

Letter: Tomás Maldonado to wsh, 18 iv 66 Reference to my second guest teaching visit to HfG. TM was undergoing a divorce from Sisi, and living in the city of Ulm (in the apartment of Gunter Schmitz who was teaching in Texas) with his next wife to be, Maia. He thought it not proper under the circumstances to live in the Dozenthaus at the HfG, so he allowed me to stay in his house during this visit. Apparently, I often had breakfast with them. He will go to the another design conference at Aspen.

Letter: Maia Maldonado (from Milan) to wsh, 23 vii 68 Mention of the Kennedy and King assassinations. This was the Robett Kennedy assassination, for I was in Ulm (actually weekending in Switzerland) during the time of the John Kennedy assassination. Another car accident, The HfG may close (and soon did). The Maldonados had moved to Milan in the summer of 1967,

Letter: Tomás Maldonado to wsh, 17 vii 1979. Concerning invitation of George Anselevicius. [Should be archived with other personal letters between T. Maldonado and wsh.] Letter: Tomás Maldonado to wsh, 27 vi 1980. Request to use my design, executed in T. Maldonado’s class at HfG, for cover of Casabella— which was done. [Should be archived with other personal letters between T. Maldonado and wsh.]

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 18

Letter: Tomás Maldonado to wsh, 17 ii 86

Letter: Tomás Maldonado to wsh, 5 v 86

Letter: Tomás Maldonado to wsh, 10 vi 86

Letter: Tomás Maldonado to wsh, 18 iii 87 Inauguration on 4 July of first big HfG show, sponsored by Olivetti, at Bauhaus Archive in Berlin,

Letter: Tomás Maldonado to wsh, 2 ix 87

Letter: Tomás Maldonado to wsh, 10 ix 90 Clarifying “Environmental Planning.”

Letter, copy: Tomás Maldonado to Dean Bruno Freschi, 10 ix 90 Proposal of Medardo Chiapponi for a visiting position in Planning.

Letter: Tomás Maldonado to wsh, 14 i 92 Trying to sort out Weyl and Wolf lecture-visits at HfG.

Enclosure with letter: Tomás Maldonado to wsh, 14 i 92 re: publication of W. Troll und K. L. Wolf, Gestalt und Symmetrie.

Letter: Tomás Maldonado to wsh, 7 ix 94, 2 pages More on sorting out Weyl and Wolf. TM’s history with texts of Weyl and Wolf. Also reference to his interest in ergonomics. “After my return of my European trip (1948) I have tended to view industrial design as one possible deviation of concrete art. However, the question of ergonomics is systematically treated only in Ulm.”

Enclosure with letter: Tomás Maldonado to wsh, 7 ix 94, Syméterie, Palais de la Decouverte, Paris

Letter: Tomás Maldonado to wsh, 12 ii 98

Letter: Tomás Maldonado to wsh, 24 iv 01 Regarding the use of computers in design.

Letter: Tomás Maldonado to wsh, 24 iv 01 Same letter sent to different address.

Letter: K. L. Wolf to Tomás Maldonado, [n.d.] Sent from Maldonado’s papers.

Note: Inge Feltrinelli to wsh, 20 vi 07 Forwarding of photos wsh’s 80th birthday celebration at Villa d’Este [Hotel], Lake Como, 8 vi 07—hosted by Inge Feltrinelli.

Four photographs: wsh’s 80th birthday celebration at Villa d’Este, Lake Como, 8 vi 07 photos by Inge Feltrinelli of Tomás Maldonado, Claudio Guerri, wsh.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 19

Invitation: architecttura e design di Tomás Maldonado, Biblioteca del Progetto della Triennale di Milano, 27 vi 2007 and book mark, Feltrinelli publications Sent by Inge Feltrinelli.

Letter: Inge Aicher-Scholl to wsh, 12 iv 60 Newest Aicher son, Manuel, born on 29 February. Mention of Norman Ives, graphic designer under Albers at Yale, possibly visiting HfG.

Letter: Inge Aicher-Scholl to wsh, 29 iii 62 Enclosure of TC 100 (Roericht Kompaktgeschirr) prospectus.

Letter: Inge Aicher-Scholl to wsh, 14 vi 62

Letter: Inge Aicher-Scholl to wsh, 6 ii 63 School no longer directed by three-headed Rektoratskolligium. On possibility of Stefan Eichler to come to USA.

Letter: Inge Aicher-Scholl to wsh, 6 vi 63 About my intent to visit the HfG at the end of June. [This was during general travel in Europe, especially in Jugoslavia and Greece. I returned to the US after this trip, then I returned to Ulm at the end of September to give a guest course at the HfG.]

Letter: Otl Aicher to wsh, 24 ii 67 Canceling a plan to give instruction in Pittsburgh. Regarding my guest teaching in third Quartal at the HfG.

Hand drawn map: map by Otl Aicher for wsh to the Aichers’ Roter Hof, [n.d.] Before the Aichers had their compound at Rotis in Bavaria, they had another compound in Bavaria, which they called the “Roter Hof.” I visited there one weekend with them in cold weather; there was heat only from space heaters, I slept Japanese-style on the floor under a thick pile of blankets.

Letter of transmittal: list of posters for the XX Olimpics, Munich, Germany, sent October 1971 Eleven 46 ½ x 33 inch posters are listed. I have 10 of them in one roll. These posters cover the graphic standards to be used throughout the 1972 Munich Olympics venue. Aicher not only designed all these standards, but he also designed the graphics throughout the city of Munich, including the subway system.

Notice: change of address of büro aicher from Ulm to Rotis, commencing 1 ix 72 Line drawing of Rotis compound, description of the compound and of the design service.

Letter: Otl Aicher to wsh, 26 vi 75 Aicher is looking for photos that I requested on Symmetry. He will make a short trip to the States next week.

Letter: Otl Aicher to wsh, 20 iii 86 Aicher wants new American bibliography on Symmetry.

Letter: Otl Aicher to wsh, 10 v 84 Aicher wants new American bibliography on Symmetry.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 20

Letter: Otl Aicher to wsh, 1 viii 86 Has lost my address. Seeks literature on perception.

Letter: Otl Aicher to wsh, 1 viii 86 About American literature on Perception and the German edition of Scientific American.

Translation: [Otl Aicher to wsh], 1 viii 86 English translation of letter of same date.

Notice: death of Otl Aicher, injured in road accident 26 viii [91]; died 1 viii [91]

Letter: Ilse Vordemberge-Leda to wsh, 1 iv 60 About the Festschrift, to which I contributed, for v-g, etc.

Letter: Ilse Vordemberge-Leda to wsh, 9 iv 61

Letter: Ilse Vordemberge-Leda to wsh, 31 x 63 After v-g’s death, Ilse Leda moved from Ulm to Stuttgart. Exhibition of v-g at Klihm, Munich. She hopes I will visit, while I am guest teacher at the HfG in this time (which I do).

Postcard: v-g and Ilse Leda to wsh, Venice, 28 viii 58

Negative film: two strips of negatives, [n.d.] A composite photo was made for the v-g Festschrift from a photo of me looking at a Mondrian and a photo of the new v-g Composition that I had recently bought.

Postcard: Ilse Vordemberge-Leda to wsh, St. Moritz, 3 viii 61

Postcard New Year’s greeting: Ilse Vordemberge-Leda to wsh, Ulm, 11 i 61

Letter: Ilse Vordemberge-Leda to wsh, 5 x 72 I believe Ilse Leda moved from Stuttgart, Germany to Rapperswil, Switz. Report about new exhibitions of v-g’s work and purchases by the Tate and Kunsthaus, Zürich.

Postcard: Ilse Vordemberge-Leda and Sisi Maldonado to wsh, 17 x 77

Invitation to opening of exhibition: cocktails with Mrs. Vodemberge-Gildewart, Richard Feigen Gallery, Chicago, Il. 16 ix [71] I was asked to send my v-g Composition[s] for exhibition, but I declined because of their delicate nature.

Postcard greeting: Ilse Vordemberge-Leda to wsh, Ulm, 3 viii 78

Photograph: Lech Tomaszewski (left) and Andrzej Pawlowski (rght) at Conference on "Methods of Training Designers in Higher Artistic Schools," Akademia Sztuk Pieknych w Warszawie; held at Warsaw and Kazimirez, Poland (15-20 September 1970) Three Polish schools (Warsaw, Krakow, Dansk) of architecture/design were involved in this conference on beginning design instruction. Andrzej Pawlowski at Krakow based his school’s curriculum on the curriculum of the HfG. Tomaszewski was friend of architect Jerzy Soltan and his architectural engineer collaborator,

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 21

Photograph: Lech Tomaszewski with wsh at Conference on"Methods of Training Designers in Higher Artistic Schools," Akademia Sztuk Pieknych w Warszawie; held at Kazimirez, Poland (15-20 September 1970)

Letter: Herbert Ohl to wsh, 22 ii 62 Ohl will lecture at Carnegie Institute of Technology, Pittsburgh.

Letter: Herbert Ohl to wsh, from Columbia U., 13 vi [62] Ohl, at Columbia U., is making final plans for Carnegie visit.

Transcription of handwritten letter: Herbert Ohl to wsh, from Columbia U., 13 vi 62 Ohl, at Columbia U., is making final plans for Carnegie visit.

Letter: Herbert Ohl to wsh, from Columbia U., [n.d.—ca. April 62] Finalizing visit to Carnegie

Letter: Herbert Ohl to wsh, from Columbia U., 13 v 62 Ohl, at Columbia U., is making final plans for Carnegie visit.

Letter: Herbert Ohl to wsh, 17 vi 62 Ohl wants help with a decision of Martin Krampen. [Handwriting is hard to read and needs transcription,]

Letter: Herbert Ohl to wsh, 10 ii 63 Ohl on his way to New York. More about plans for a new school. [Handwriting is hard to read and needs transcription,]

Letter: Herbert Ohl to wsh, from Columbia U., 22 iv 63 Ohl with wife Helga will visit Carnegie in Pittsburgh, April 25-27.

Letter: Herbert Ohl to wsh, from Columbia U., 21 v 63

Letter: Herbert Ohl to wsh, 26 v 64 Regarding a purchase from Abercrombie and Fitch.

Letter: Herbert and Helga Ohl to wsh, 31 vii 64

Letter: Herbert and Helga Ohl to wsh, from College Station, Texas, 11 iii 64

Letter: Helga Ohl to wsh, 17 xii 64 Herbert in Texas; will arrive home before Christmas.

Letter: Herbert Ohl to wsh, 12 xi 64 Sent to me gift of Roericht coffee cups.

Letter: Herbert Ohl to wsh, 15 i 69 Ohls are still in Ulm. “The school in Ulm is out, but I plan already to start it again in 1 – 2 years abroad (wh. in Switzerland). My family leaves to Milano end of this month and my Institute changes place to Frankfurt.”.

Letter: Helga Ohl to wsh, Milan, Italy, 19 xii 73 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 22

Herbert works one week in Frankfurt and one in Milano. They bought apartment at seaside [at Camogli].

Letter: Herbert Ohl to wsh, Milan, Italy, [n.d.] probably 1974—time of Oppositions 3 (May 74) New address is “100 m from Leonardo’s ‘LAST SUPPER.’” Ohl has no copy of the axonometric drawing that I requested. This is probably the drawing of the HfG buildings, for he suggests I get one from Bill.

Letter: Herbert Ohl (signed, Charlotte Volger) to wsh, Rat für Formgebung, Darmstsdt, Germany 20 x 80 Ohl is director of the Rat für Formgebung. There is again reference to documents of the HfG, that I have requested. I am mentioning a trip to Europe.

Letter: Jutta Ohl to wsh, Camogli, Italy, 27 vii 86 Herbert and Helga Ohl divorced, and Herbert married Jutta. Thanks for contribution to Herbert’s birthday. [At this point I do not remember it; it may have been a contribution for a Festschrift for his 60th birthday.] Party at Camogli on 26-8-86.

Letter: V. A. Frank-Kamenetskii to wsh, Leningrad (St. Petersburg), Russia, 11 v 90 Frank-Kamenetskii is a leading Russian crystallographer whom I meet in Buda-Pest in 1989. In this letter he conveys references regarding my specific research in mirror-rotation symmetry at that time.

Binder 3 Photocopy print: oblique drawing of “La Scuola di Ulm,” Max Bill, [n.d.] I believe this oblique drawing (not axonometric drawing, as it is often labeled) was sent to me by Max Bill himself, after I requested a copy of it from Herbert Ohl, who had none.

Typed notes: on the theory of color, by Helene Nonne-Schmidt, [16 ii 64], 1 of 5 pages I participated in Helene Nonne-Schmidt’s course on the theory of color at the HfG-Ulm in November 1956. In 1964, I had a question for her; and she typed out for me a complete set of lecture notes.

Typed translated transcription by wsh: on the theory of color, by Helene Nonne- Schmidt, [16 ii 64], 1 of 4 pages

Typed notes: on the theory of color, by Helene Nonne-Schmidt, [16 ii 64], 2 of 5 pages

Typed translated transcription by wsh: on the theory of color, by Helene Nonne- Schmidt, [16 ii 64], 2 of 4 pages

Typed notes: on the theory of color, by Helene Nonne-Schmidt, [16 ii 64], 3 of 5 pages

Typed translated transcription by wsh: on the theory of color, by Helene Nonne- Schmidt, [16 ii 64], 3 of 4 pages

Typed notes: on the theory of color, by Helene Nonne-Schmidt, [16 ii 64], 4 of 5 pages

Typed translated transcription by wsh: on the theory of color, by Helene Nonne- Schmidt, [16 ii 64], 4 of 4 pages

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 23

Typed notes with hand written message: on the theory of color, by Helene Nonne-Schmidt, 16 ii 64, 5 of 5 pages

Color print: Philipp Otto Runge’s Color Sphere, sent by Helene Nonne-Schmidt, from unknown source with four of her own charts

Hand written notes: list of the order of tertiary colors from Helene Nonne-Schmidt

Aquarelle color chart: chart 1 of 4: 3 primaries and 3 secondaries by Helene Nonne- Schmidt The colors, amazingly brilliant and dense, were not rendered in temperas but in aquarelles in Nonne-Schmidt’s accomplished technique.

Aquarelle color chart: chart 2 of 4: 6 secondaries of the second order by Helene Nonne-Schmidt

Aquarelle color chart: chart 3 of 4: 3 secondaries of the first order, 6 secondaries of the second order, and 3 tertiaries of the first order by Helene Nonne-Schmidt

Aquarelle color chart: chart 4 of 4: triangle with 3 secondaries of the first order and three tertiaries of the first order; six-pointed star with 3 primaries, 3 secondaries, and 6 tertiaries; band with three tertiaries of the first order; 6 rhombi demonstrating various combinations of “shadow” colors by Helene Nonne- Schmidt

Typed notes: bibliographic items on theory of color from Helene Nonne-Schmidt, [n.d.]

Typed notes with hand written notations: “This List of Literature I gave to Andrea (for the Library of the new School of Design in Sao Paulo,” 4 pages

Letter: Helene Nonne-Schmidt to wsh, 11 ii 60

Letter: Helene Nonne-Schmidt to wsh, 6 xii 63 Nonne-Schmidt and Andrea Schmitz want a reference citation of a book in the HfG Library, in which period, I was guest teaching at the HfG. Andrea was the first librarian of the HfG and was now living (as did Nonne-Schmidt) in Darmstadt, where she worked at the Rat für Formgebung.

Note [two-sided]: Andrea Schmitz to wsh [n.d.] possibly enclosure with Nonne-Schmidt letter Regarding Tom Rago.

Letter: Helene Nonne-Schmidt to wsh, 12 iii 64 N-S had had an accident but would be painting several color plates to send to me. She asked about the conditions of a proposal to have her guest teach in Pittsburgh. Charlotte Weidler, working for the Carnegie Museum of Art, was an old Bauhaus colleague. Information about Joost Schmidt, her husband—who had been an American prisoner of war after WW1

Typed translated transcription by wsh: letter from Helene Nonne-Schmidt to wsh, 12 iii 64

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 24

Postcard: Helene Nonne-Schmidt to wsh, 15 vi 64 Nonne-Schmidt is inquiring about the color charts that she painted (4 in aquarelle, 3 in tempera). These were not the ones she did specifically for me, but examples for a proposed book on color, which she hoped to have published. (Paul Schweikher had suggested Paul Theobald publishers of Bauhaus texts in Chicago, but this did not work out.) My display of these charts in my class at Carnegie, caused a break with Josef Albers for a number of years, caused by Sy Sillman reporting to him about my displaying N-S’s color work. Albers did not respect N-S’s knowledge of color. The two were both schoolmates at the Bauhaus and had other coincidental path-crossings in life: e.g., they both had studies at Berlin; Albers and her had been close friends before either had married; Anni Albers and N-S, after their respective marriages, had to share the same kitchen at the Bauhaus.

Postcard: Helene Nonne-Schmidt to wsh, 15 vi 64 Similar message to a different address.

Picture postcard (Birnau): Helene Nonne-Schmidt to wsh, 26 xi 64 N-S was glad her plates were in good hands; her health had not been good.

Picture postcard (Die Meister): Helene Nonne-Schmidt to wsh, 20 xii 64 Her friend Dr. Weidler suggests publishing her book in Germany. S-N declares there is no money in Germany for cultural things. She has not had a Merry Christmas since 1948,

Postcard: Helene Nonne-Schmidt to wsh, 20 xii 64 In German in another postcard, similar message about Weidler. She wants me to return the plates when I come back to Germany.

Picture postcard (Feininger): Helene Nonne-Schmidt to wsh, 20 i 65

Letter, typed: Helene Nonne-Schmidt to wsh, 18 x 64, 2 pages Instructions about her color-plates and her hopes to have a publication put out on her and Joost Schmidt’s color work. Also, information about her friend Charlotte Weidler.

Letter, hand written (two-sided): Helene Nonne-Schmidt to wsh, 5 iii 64 About Hannes Meyer, etc. [This seems to be an interesting letter; but her handwriting is difficult to read now, and I don’t have time to transcribe it.]

Note, hand written (two-sided): Helene Nonne-Schmidt to wsh, 1 ii 65 About her color plates and a visit.

Note, hand written (two-sided): Helene Nonne-Schmidt to wsh, 10 iii 65 interesting information about Hannes Meyer, etc.

Note, hand written (two-sided): Helene Nonne-Schmidt to wsh, [15 ii 55 postal date] About my upcoming visit to Darmstadt from Ulm.

Note, hand written (two-sided): Helene Nonne-Schmidt to wsh, 9 iii 66

Flier (two-sided): HfG Synopse, Nick Roericht

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 25

Flier (two-sided): HfG-Innenausbauten, Nick Roericht Measured drawings on the built-in furniture at the HfG buildings.

Flier (two-sided): ulm: Die Moral der Gegensände, Hochschule für Gestaltung 1953-1968

Enclosure with letter: Tomás Maldonado to wsh, 7 ix 94, Syméterie, Palais de la Decouverte, Paris

Invitation (two-sided): Opening: Ulm: Die Moral der Gegenstände, Hochschule für Gestaltung 1953-1968, Bauhaus-Archiv, 3 vii 67

Announcement (two-sided): Discussion: “Ulm – und was nun?” Design Zentrum Berlin, 2 vii 87

Announcement (two-sided): Discussion: “Macht Design Märkte?” Design Zentrum Berlin, 2 vii 87

Announcement (two-sided): Film Program: Ulmer Instituts Filmgestaltung, Design Zentrum Berlin, 4 - 14 vii 87

Announcement: Organization Program: Lindinger and von Klier, Bauhaus-Archiv, Berlin, 4 - 2 vii 87, 3 pages

Letter of invitation: Olivetti (Ellen Klein) to wsh, 15 vi 87

Poster/Program (two-sided): Ulmer Weihnachts Markt—28 xi – 21 xii 86 If not designed by an HfGer, the poster was influenced by Ulm design.

Poster/Exhibition flier (two-sided): Ulm: Die Moral der Gegenstände, Hochschule für Gestaltung 1953-1968, Ulmer Museum, 22 i – 5 iii 89

Invitation (two-sided): Opening: Ulm: Die Moral der Gegenstände, Hochschule für Gestaltung 1953-1968, Ulmer Museum, 22 i 89

Poster/Exhibition flier: HfG- Gescbichte in Plakaten, Archiv der Hochschule für Gestaltung, 23 ix – 5 xi 89

Letter: Herbert Lindinger to wsh, 26 viii 66

Letter: Alfred Roth to wsh, 24 xi 75

Poster and band with message: Berlin in Tokyo, [n.d.] From accompanying band, it seems that this poster was designed by Nick Roericht.

Stencil cutting: letters b h, [May 1988] b h is undoubtedly for bill huff. The typeface of these letters are in Otl Aicher’s new typeface, Rotis. Aicher made this for me in his studio at his Rotis compound. This was probably during my visit on 24 May 1988. 1988 is the year given in Wikipedia as the year that Rotis was developed.

Print: letters w s h, [May 1988] Aicher made this print of my initials for me in his studio at his Rotis compound.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 26

Print: letters w s h, [May 1988] Aicher made this print of my initials for me in his studio at his Rotis compound.

Stencil cutting: letters w s h, [May 1988] Aicher made this stencil of my initials for me in his studio at his Rotis compound.

Announcement (two-sided): Symposium: “Netz und Netzwerke,” H-G-Archiv, Ulm, 11 - 12 v 01

Poster/Exhibition flier: Otl Aicher-Archiv, HfG-Archiv, 23 ix – 5 xi 89

Exhibition flier: politische kultur, HfG-Archiv, 11 v – 2 vi 02

Flier (two-sided, folded): HfG-Archiv Ulm Three 2-D color exercises executed in HfG classes of wsh included in flier.

Announcement (two-sided): Death of Inge Aicher-Scholl, 4 ix 1998

Color print: Caspar Schwabe and others with Max Bill in Bill’s Studio, Zürich, [n.d.] Schwabe is the co-owner of the AHA shop, selling geometric toys, on Spiegelgasse in Zürich, not far from the Bill studio and the Kunstmuseum.

Invitation (two-sided): Cermonia di Conferimento della Medaglia d’Oro e del Diploma di Prima Classe di Benemerito della Scienza e della Cultura al Prof, Tomás Maldoado, Milan, 22 ii 99

Letter: Herbert Lindinger to wsh, 29 xii 88

Hand drawn map: map of Baroque churches, south of Ulm [probably drawn by Otl Aicher, 1956]

Invitation with map (two-sided): 80th Birthday, at Villadeati, 25 iv 02 Inge Feltrinelle, a German by birth, has been the longtime woman friend (after three marriages) of Tomás Malodnado. She has been, since the death of her husband, the owner of the Italian publisher Feltrinelli. She had two villas, one on Lake Garda (a hotel since 2001), and one east of Turino, at Villadeati, which she favored. My first visit to Villadeati with TM was on 30 June to 1 July 1990.

Picture postcard (Villadeati): Inge Feltrinelli (and Tomás Maldonado) to wsh, [24 iv 02] Greeting awaiting in the hotel room reserved for me near Villadeati by Inge Feltrinelli.

Picture postcard (Villadeati): Inge Feltrinelli to wsh, 28 iv 00 [sic] [postmarked 29 iv 02] 130 people at the birthday celebration. Inge thanked me for the gift to TM (a portfolio of silkscreens by Josef Albers).

Invitation (two-sided): ulmer modelle—modelle nach ulm, 50th Founding Jubilee of the Hochschule, Stadthaus Ulm, 14 ix – 30 xi 03

Invitation (two-sided): program in regard to 50th Founding Jubilee of the Hochschule, club off ulm e.v., Stadthaus Ulm, 18 x 03 flier: hfg-náchte, 18 ix [03]

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 27

flier: Jubiläum der Hf©, ¨lm, 14 - 18 ix and 18 x 03 scan of photoprint in HfG Archiv for identification: Tomás Maldonado, Chaude Schnaidt, Hans (Nick) Roericht [n.d.] article: “Innovative Systemdenken: Austellungen zum 50. Gründungsjahr der HfG,” Spazz (Das monatliche Programm-Magazin für die Städte Ulm und Neu-Ulm), September 2003, p. 10 museum schedule: Spazz (Das monatliche Programm-Magazin für die Städte Ulm und Neu-Ulm), September 2003, p. 88 photo print: Grundlehre study, Dolf Zillmann, from 1955-56 course of Tomás Maldonado This is a copy of one of the of first two raster solutions to Tomás Maldonado’s Aufgabe “Ungenau durch Genau.”

Exhibition announcement: “martin krampen: west-östliche decollagen,” Schule für Gestaltung, Ravensburg, 24 iii – 12 iv 2001

Box 7 Material from the Hochschule für Gestaltung (HfG), mostly products of research and design by HfG, and miscellaneous.

• journal: Herbert Ohl, “Will architecture survive industrialization?” Architectural & Engineering News, August 1963, pp. 18-29 • tear sheets: Herbert Ohl, “Will architecture survive industrialization?” Architectural & Engineering News, August 1963, pp. 18-29 • tear sheets: James Patterson, “A building system for urban circulation?” Architectural & Engineering News, November 1964, pp. 28-37 [a research and development program at the Research and Graduate Center, School of Architecture, Texas A&M University, in collaboration with Herbert Ohl, who was a visiting professor at Texas A&M. In a later year, Gunter Schmitz replaced Ohl at A&M.] • color sampler of plastic tiles in folio: BASF Colorthek Polystyrol (no date) [This probably came from either the HfG Institute of Otl Aicher or from his studio at Rotis. The HfG-Archiv in Ulm has all of his papers and may be better able to identify this.] • pages of a color sampler of plastic tiles: BASF Colorthek Polystyrol (no date) [This probably came from either the HfG Institute of Otl Aicher or from his studio at Rotis. The HfG-Archiv in Ulm has all of his papers and may be better able to identify this.] • corporate identity folio: HochschuleAlex Linder: UniData (no date) [This probably came from either the HfG Institute of Otl Aicher or from his studio at Rotis. The HfG-Archiv in Ulm has all of his papers and may be better able to identify this.] • corporate identity brochures (5) on standards: Lufthansa, Entwicklung 5 an der Hochschule für Gestaltung Ulm [This work was done in the HfG research institute, Entwicklung 5, headed by Otl Aicher. Two of the collaborators were Hans (Nick) Roericht and Tomás Gonda. There is a historical connection of the development of the research institutes and the period when the “scientists” took the direction of the school away from the “designer”—1960-1962] • corporate flier: Herman Miller Collection: George Nelson • corporate flier: Herman Miller Collection: Charles Eames • flier: various projects involving the HfG: braun, westdeutsche landesbank; lufthansa; olympische spiele, probably designed and produced by Otl Aicher William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 28

• example: monthly, Die Deutsche Bühne, Sept. 1963, Entwicklung 5 an der Hochschule für Gestaltung Ulm • film promotion (French): Geschwindigkeit vitesse, film by. EdgarReitz, Entwicklung 5 an der Hochschule für Gestaltung Ulm [Reitz was the director of Film, a sub-department of Visuelle Kommunikation established around 1963.] • article in monthly newspaper: Thomas Dawo, “Funktion und From” werk und zeit, (Monatszeitung des Deutsche Werkbundes), November/December 1963, pp. 5-6. [Thomas Dawo was in only the HfG Grundkurs of 1956-57; he later taught a foundation course at Krefeld.] • example: monthly: Ulmer Monatsspiegel, Dec. 1963, probably designed by Otl Aicher [This is mainly an organ of the Volkshochschule, which Inge Aicher and Otl Aicher reestablished before founding the HfG. The cover shows the drawing of the famous Ulmer Schneider who tried to fly from the bridge over the Danube.] • report: ulmer theater 63/18 1963, Entwicklung 5 an der Hochschule für Gestaltung Ulm [Most of the publications coming out of Ulm were printer by Ebner, the firm that published on of Ulm’s two daily newspapers. The son, Eberhard was a close friend of Maldonado and thus that faction of the HfG.] • timetable: Lufthansa, Winter 1964 [This was taken by wsh from a Lufthansa flight. Its design is undoubtedly the product of the HfG’s Entwicklung 5.] • timetable: Lufthansa, Winter 1966 [This was taken by wsh from a Lufthansa flight. Its design is undoubtedly the product of the HfG’s Entwicklung 5.] • route-map: Lufthansa [This design is undoubtedly the product of the HfG’s Entwicklung 5.] • magazine: Lufthansa Bordbuch, January 1982 [Though removed by nearly two decades, this was undoubtedly influenced by the design standards of the HfG’s Entwicklung 5.] • monthly magazine: Michael Erlhoff, “Bundes-Bauhaus” (“Design aus Ulm ”), Westermanns Monatshaft, July 1985, pp. 22-30 • brochure in folio: Reisen in Deutschland, Bundesrepublik Deuschland, 1967 from Büro Aicher with signed complimentary card from Inge Aicher [This was undoubtedly not a product of the HfG’s Entwicklung 5.] • menu (2): Lufthansa (perhaps 1965) [These were taken by wsh from Lufthansa flights, produced according to the design stasndards of the HfG’s Entwicklung 5.] • brochure: Lufthansa, “Zum Verkauf” • small brochure (2): braun; T 50 and T 520 T521 (probably 1962) [Hans Gugelot (or Dieter Rams) could have had a part in this brochure, since Gugelot designed some of the early products for braun.] flier: braun (perhaps 1962) [Hans Gugelot could have had a part in this brochure; since he designed some of the early products for braun. Later, however, braun set up its own design department under Dieter Rams (around 1961) who trained at the Hf G] • brochure: Der Spieltrog, by Otto Schild [Otto Schild was the Plaster Master of the HfG. This was one of the earliest products of the HfG, already produced when I arrived in 1956.] • brochure: Verschieden stapelbare Schüssel aus Kunstoff, by Otto Schild (no date) • brochure: Kinder Möbel, for Grünzig by Hans Gugolet (no date) William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 29

• catalog: Braun: Radio- und Fernsehgeräte im Stile unsere Zeit (ca. 1955) [This features designs of Hans Gugelot] • safety instructions (2): Lufthansa, for A 300 and B 727 • wrappers (2): Lufthansa, for salt and pepper • wraper: Lufthansa, with sugar loaf • brochure: “summer workshop, 1967, in architecture, at the hochschule für gestaltung ulm, germany, in cooperation with the university of notre dame” • order form: for ulm • invitation (in envelope with card for response), EinsteinHaus (the Volkshochschule) 16 October 1968 [This is just after the closing of the HfG. It was undoubtedly designed by Otl Aicher at his Rotis compound.] • brochure/poster for commercial dinnerware: designed by Hans Roericht [This may be the same as other copies of this that I have already turned over to the UB Collections. However, this is in English, and may be a later version. If this is a duplicate, keep the better copy and return the other copy to w huff] • stationery: envelope (3) one with indicators, Hochschule für Gestaltung • advertisement: Container corporation of America for the “Great Ideas of Western Man” series on Thomas Mann, designed by Otto [sic] Aicher • menu for an event: Rotis, 13 May 1982 • exhibition announcement: “holzarbeiten aus hildingers werkstatt,” studio f, ulm, 1982 [Hildinger was the master of the wood workshop at the HfG; he later set up his own workshop in the City of Ulm on Olgastrasse. He turned out the students’ tables and stools from the HfG workshop and continued to make the stool in his Ulm workshop. Though the Hocker is attributed to Max Bill, Hildinger may have had a major hand in the design.] • invitation: Einladung zur Eröffnung der Austellung “Die Moral der Gegenstände,” Berlin, 3 July 1987 • assignment in industrial building design: Claude Schnaidt, “Konzeptionelles zu einer HfG Austellung,” for des Institutes für Industiral Design der Universität Hannover, 8 March 1985 [This assignment was undoubtedly given as a reaction to the upcoming exhibition on the HfG to be opened in Berlin in 1987. Claude Scnaidt from Geneva, Switz., was one of the first students at the HfG. He became a Fastdozent of the HfG in its latter years, and he moved to Paris, after the HfG closed and taught industrialized building there. He was a close friend of Gunter Schmitz.] • publication flier: Industrielle Ästhetik, Bernd Meurer and Harmut Vicon, Anabas-Verlag [Bernd Meuer was in the same Grundlehre class as wsh.] • xerox: club off ulm entry of William S. Huff [The club off ulm (quirkily adopting the English word “off’) is a student alumni group. I agreed to join it with the hope that this group might best see to the establishment of an HfG Archive; but it was ineffective in this mission; other initiatives brought that about.] • poster announcing lecture: Herbert Ohl, Carnegie Institute of Technology (between 1960 and 1965—probably around 1963), designed by Jack Stauffacher, letterpress printer • xerox (3): chair design, Herbert Ohl [These are high density xeroxes and tend to stick to other sheets.] • xerox of article: Tomás Maldonado, “Muster, Mäßstabe, Modele,” Design Horizonte, 21 to 24 August 1992, pp. 15-17 [In general, I have not included xeroxes of articles, but I include this one by Maldonado.] • set of graphic plates (English and Japanese) in envelope: chair design with a sort of concrete poetic description, Shutaro Mukai William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 30

[Envelope is dated 21 Dec. 1977, Buffalo. This may have been mailed when Shutaro Mukai visited UB in Buffalo with his daughter on a trip to find a leading current school for her to study design. They eventually chose a new school of visual media in Cologne.] • newspaper clipping (mounted): “22jähriger Student nahm sickh das Leben,” Ulmer Tagblatt, 10 March 1965 [I am not remember why I saved this. I may have been teaching there at the time. We had the suicide of one of three Japanese colleagues in my Grundlehre class of 1956-57. He took his life during a field trip, it was said, because he wanted to be home with his wife and child, but the government had sent him to study in Germany.] • hang file product for slides: designed by Hans Roericht for his office, ProduktEntwicklung, Am Hochsträss 8/24, Ulm [The address Hochsträss 8 refers to his office that was housed in the sw corner of the Mensa of the HfG building; Hochsträss 24 refers to his house, the fifth of the original six Dozenthäuser duplexes of the HfG complex.] • letter invitation (25 x 08): Podiumdiskussion, “die gute form,” Ulmer Museum, 13 November 2008 [This complements the exhibition celebrating the 100th year of Max Bill.]

BOX 8 Material from the Hochschule für Gestaltung (HfG), including Lehrpläne or teaching schedules.

• Output 1, March 1961—publication put out by students of the HfG • mimeographed letter regarding Output, Klaus Krippendorff, 27 ii 61 • “Design ‘Hochschule’ emerges,” reprint from Industrial Design, March 1957 • “Industriel Design / un tour d’horizon sur quelques problemes actuels,” lecture by Tomás Maldonado (no date) [personally signed für Bill Huff Tomás, 2.9.63. The lecture may have been in April 1963.] • promotional reprint, Hochschule für Gestaltung – Ulm, Stuttgart, 1955 • set of promotional reprint (German) in jacket “HfG Ulm Bauen” “Architektenausbildung an der Hochschule für Gestaltung at Ulm, Deutschland” “2. Die Abteilung Bauen” “2.4 Drittes Studienjahr” “2.7 Lehrprogramm 1966/67 der Abteilung Bauen” “3. Institut für Industrialisiertes Bauen” • set of promotional reprint (English) without jacket “Architectural Education in the Hochschule für Gestaltung at Ulm, Germany 1966/67” “2. The Department of Building” “2.4 Third Year” “2.7 Pedagogical Program of the Department of Building 1965/66” “3. Institute for Industrialized Building” • promotional reprint, photographs, [back page] “otl aicher hochschule fur promotional gestaltung – ulm” • promotional reprint, “Building Department” [Though this is undated, notice the punch cards. This was the state of computerization at the HfG, up to the closing of the school.] • minimal publication, “Hochschule für Gestaltung: Information 63,” September 1963 • lecture (English translation), “Diagnosis of Design,” Tomás Maldonado (no date) [This lecture is from the time of Maldonado’s tenure at the HfG. There is a 2007 publication by Laura Escot on Maldonado’s career that can date this lecture.] William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 31

• publication proof, “Information on Ulm HFG,” apparently authored by Gunter Schmitz • assignment statement, “Training for the design of object assemblages,” Tomás Maldonado (no date) [probably from 1962 to 1963] • assignment statement, “Training for details,” Tomás Maldonado (no date) [probably from 1962 to 1963] • academic document, hochschule für gestaltung: lehrplan produktgestaltung 1962/63 • academic document, hochschule für gestaltung: lehrplan visuelle kommuniktion 1962/63 • academic document, hochschule für gestaltung: lehrplan bauen 1962/63 • hochschule für gestaltung: lehrplan information 1962/63 • hochschule für gestaltung: lehrplan bauen 1963/64 • academic document, hochschule für gestaltung: lehrplan information 1963/64 • academic document Lehrkörper Studienjahr 1963/64 Hochschule für Gestaltung • academic document, Lehrkörper Studienjahr 1963/64 Hochschule für Gestaltung (second version) • Gastdozenten im I. Quartal 1963/64 [Includes William S. Huff] • 1968 calendar • report from rotis institut für analoge studien, “1/86: die falscheste art; die erde richtig zu sehen” [Rotis is the bureau in Bavaria, about an hour or so from Ulm, which Otl Aicher founded and led toward the end or after the HfG. Aicher designed a popular new design face, which he called Rotis.] • report from rotis institut für analoge studien, “2/86: analog und digital” • report from rotis institut für analoge studien, “3/86: das gedruckte wort” • report from rotis institut für analoge studien, “4/86: wahrnehmung ist erkenntnis” • report from rotis institut für analoge studien, “5/86: greifen und begreifen; die hand und das zählen; wittegensteins griff” • report from rotis institut für analoge studien, “6/86: erweitereung des ich” • article in magazine, Herbert Ohl, “Industrialized Building” Architectural Design, April 1962, pp. 176-185 • Taschensynopse: Eroffnungsausgabe, N. H. Roericht, Ulm 1982 • promotional reproduction of complete HfG-Synopse: Eroffnungsausgabe, N. H. Roericht • promotional reproduction of one page HfG-Synopse (1954/55), N. H. Roericht • order form for HfG-Synopse, N. H. Roericht • report on creating the HfG-Archiv, ulm: Stadt Ulm, Ulmer Museum, HfG-Archiv, Jahresbericht 1991/92 • 1 ulm report, 1966/1 2 ulm report, 1966/2 3 ulm report, 1966/3 • earlier order form for ulm: Quarterly bulletin of the Hochschule für Gestaltung, Ulm, Germany • later order form for ulm: Journal of the Hochschule für Gestaltung • communication between Hans Maria Wingler to Claude Schnaidt, “An die Freude der Ulmer Hochschule fur Gestaltung,” 1981 [H, M. Wingler, author of Das Bauhaus; C. Schnaidt, Student and Dozent, HfG] • paper, “Festellungen zum Postmodernismus,” Claude Schnaidt, 1981 • publication, uppercase: 5 HfG ULM (and Roger Mayne), edited by Theo Crosby (London: Whitefriars Press, 1961) • publication, Tomás Maldonado, Beitrag zur Terminologie der Semiotik, Theo Crosby (Ulm: J. Ebner, 1961) • 5 application folders in jackets for, “hochschule für gestaltung - ulm,” William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 32

[These may be from different years, so they may be different—and good for comparison. I believe some dates may be indicated in these papers.] • brochure, “Hochschule fur Gestaltung . Ulm (Ulm School of Design)” in English [There may be an earlier one of these in the UB collection; however, notice the use of upper case • academic document, “hochschule für gestaltung ulm, lehrprogramm 1964/65” • academic document document, “hochschule für gestaltung ulm, lehrprogramm 1965/66” • academic document, “hochschule für gestaltung ulm, lehrprogramm 1966/67” • advertisement/poster, Thomas porcelain ware, “TC 100” (English) [designed by Hans Nick Roericht as thesis design and became a very successful product] • city promotional brochure, “ulm,” designed by HfG • city promotional brochure, “ulm,” designed by Otl Aicher, HfG • city promotional brochure, “Ulm-Donau,” designed by Aicher and Querengässer, HfG • city promotional brochure, “1000 Jahre Ulm” (designed at HfG) • city promotional brochure for hotels, restaurants, cafés, “Ulm (Donau)” (designed at HfG) • catalog, hochschule für gestaltung ulm, exhibition at Die Neue Sammlung, Munich, 11 May-17 June 1964

• HfG-Synopse: Taschensynopse—Eröffnungsausgabe: 1982 (20 pp + cover page) A “Pocket Synopsis” put out by Hans (Nick) Roericht and distributed at an opening of the exhibiting of his HfG-Synpose. See publication note on front cover.

Box 9

Binder 1 Small three-ring binder with images by Albers, his students, and some HfG personages

• three printed design of Josef Albers (given to wsh by Albers) • three original New Year’s cards (they all indicate the date of the new year: 1958,1959, 1960) • MoMA greeting card, inkless intaglio by Josef Albers • note from Anni Albers to wsh: regarding the placement of her tapestry in the G. A. Steiner Museum for Indian Baskets, Portersville, Pa. • fifteen postcards with Albers paintings (one from Brian and Annette Carter) • Wittenborn ad for Albers book of drawings • exhibition announcement for Albers retrospective at Guggenheim Museum, 1988 • four postcards with paintings of Richard Anuszkiewicz, Albers student • ad for show of Joseph Slutzky, Albers student, Philadelphia, 1998 • three postcards with painting of Neil Welliver, Albers student • two two-sided note paper with sculpture of Erwin Hauer, student of Albers—with personal notes • three greeting cards from Helene Schmidt-Nonne (also Nonne-Schmidt)—two with Polish cutouts, one with original red aquarelle star—and personal notes • postcard with geometric design of Hermann Baravalle—sent by Marion Walter from a Jewish family and who was imprisoned by Nazi’s around Ulm/Stuttgart area; she was also a visiting professor at UB • diapositive of tempera painting by Gui Bonsiepe, student of Maldonado—painting owned by wsh • fifteen postcards with paintings and sculptures of Max Bill—some with personal greetings • one postcard with relief of Shizuko Yoshikawa, student of Bill • two postcards and exhibition announcement with paintings of Friedrich Vordemberge-Gildewart, 1999 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 33

• envelope with Albers stamps from Thomas Dawo • Card: Ulmer Hocker, 1954, Max Bill, Hans Gugelot, Vitra Design Museum Shop [Germany] The Bill-Gugelot Hocker (stool).is a major iconic symbol of the HfG. When I was a student, each student had his/her own stool, usually stationed at the student’s studio workplace; but when the student went to a classroom, the student took it with him/her, since there were no seats in the classrooms, excepting for one chair (and table) for the lecturer.

Binder 2 ° Annual New °Year’ greetings: designed and drawn by hand by Gunter Schmitz, student of HfG, matriculated in Fall 1957 At least in recent times, many Europeans are more apt to send out New Year’s cards than Christmas cards. In that tradition, the Schmitzes sent out such cards annually. The one year that Gunter took his sabbatical in Latin America, they send a card from Mexic

° Annual New Year’ greetings: designed and drawn by hand by Shutaro Mukai, student of HfG, matriculated in Fall 1956 Shutaro Mukai, who matriculated in the same Grundlehre class as wsh, followed the annual (Western) New Year’s card tradition. He did not finish the Ulm curriculum (by purpose), but he revisited Ulm often, especially Maldonado. He picked up Concrete Poetry from Eugen Gomringer, Max Bill’s private secretary. Mukai created concrete striking poems in Japanese, German, and (I believe) English. His work is frequently included in Concrete Poetry anthologies. He established a new department of design, modeled on the HfG, at the Musashino School of Arts, on the edge of Tokyo. The departments main concentrations were in Basic Design and Graphics, but, I believe, also some Product Design. (Incidentally, some make a distinction between Product Design and Industrial Design—the former generally involve small house and office products, the latter generally involve large machinery.

Binder 3

• Studienauswies of William S. Huff—student identification document • commercial automobile sticker—“ULM” with the Ulmer Spatz (the city mascot, a sparrow) • block of German stamps famous resistance figures, including the Geschwister Hans and Sofie Scholl on whose sacrifice the foundation of the HfG was based • announcement by Otl Aicher of the birth of the Aichers’ fourth child, Julian, 1958 [Later, there was a fifth child, Manuel.] • sticker by Hurbert Zimmermann for commercial toy—Kugelkippturm, a ball’s trip on a tower ramp [Zimmermann was a student in 1956-57 Grundlehre class with wsh] • obverse—HfG greeting card for 1958, using design based on symmetry executed by Hurbert Zimmermann • reverse—HfG greeting card by Zimmermann—with personalized greeting of Inge Aicher • HfG 4-page greeting leaflet for 1959 with Concrete Poem (notably the word-play is in English) by Eugen Gomringer—having allusions to the Kuhberg (cow mountain/hill) on which the HfG sits— personally initialed by e.g.

mist mountain butterfly

mountain butterfly William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 34

missed

butterfly meets mountain

• announcement of 1957 Fasching—theme, ungenau durch blau, a word-play on a famous assignment given by Tomás Maldonado and a colloquial meaning of blau • announcement of 1961 Fasching—theme, faschination • complexly folded announcement of 1962 Fasching (as karneval) • announcement of kinofête (cinema festival) at HfG, 1963 • announcement of taufe (baptism), a public celebration sponsored by the new academic year in Produkt Design (year not identified)—alluding to the HfG as a cloister • wedding announcement of Edgar Decurtins and Frauke Koch-Weser, two HfG students, 1960— Decurtins was in class of wsh [Decurtins was a student in 1956-57 Grundlehre class with wsh] • Christmas greeting card of Peter Seitz, HfG student, for 1959 [Most elite Europeans send secular New Year’s cards rather than non-secular Christmas cards] • announcement of party 1, a public celebration sponsored by the first year of the HfG (year not identified) • wedding announcement of Thomas Dawo, HfG student, and Ilse Bourbeck, 1958 [Dawo was a student in 1956-57 Grundlehre class with wsh] • New Year’s greeting card from Tomas and Sisi Maldonado for 1959 • New Year’s greeting card from Tomas and Sisi Maldonado for 1960 • New Year’s greeting card from Tomás and Sisi Maldonado for 1961 • announcement of death of Brunie, wife of Peter Gautel, 1961—Brunie was private secretary of Inge Aicher, Peter Gautel was HfG student • announcement of the birth of the Peter and Uta Gautels’ second child, Jakob Christoph, 1965 • New Year’s greeting card from Tomás and Sisi Maldonado (year not identified) New Year’s greeting card from Ilse Leda Vordemberge-Gildewart, 1960—presumably this is from v-g as well • announcement of death of Friedrich Vordemberge-Gildewart, 1962 • recognition of condolence on death of Friedrich Vordemberge-Gildewart, 1962 [notice use of uppercase typeface] • New Year’s greeting card from Maurice Goldring, HfG student, for 1959 • Christmas greeting from Maurice Goldring and British group (year not identified) • notepaper of Gui Bonsiepe, HfG student, and recent wife, (?)1966 • announcement of the birth of the Ohls’ third child, Esra, 1965 • announcement of the birth of the Raackes’ (Gastdozent) third child, Delia Catarina, 1965 • card for complimentary copy of a publication from Pressestelle card for complimentary copy of a publication from Redaktion ‘ulm’—signed by Gui Bonsiepe • invitation to party in Rektorat on the departure of Tomás Maldonado, hosted by Rektor Herbert Ohl, 1967 [notice use of uppercase typeface] • felicitations from Tomás and Maia Maldonado at new address in Milan, Italy, 1968 • New Year’s greeting card from Claude Schnaidt, HfG student, for 1958 [Schnaidt was critical of the classicism of Bill’s HfG buildings] • invitation by Claude Schnaidt to party in his Atelier 13 (living quarters) to celebrate the publication of his book on Bauhaus Master Hannes Meyer (year not identified) William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 35

• wedding announcement of Eberhard Ebner, great friend of HfG, and Jeanine Merrapfel, 1968— Ebner was in son of the publisher of one of Ulm’s two newspapers • complex New Year’s greeting card from Almir Mavignier, HfG student, for 1957 • felicitations from Tomás and Elena Gonda at new address in Milan, Italy, 1968—Gonda was old friend of Maldonado and worked on Lufthansa corporate identity project with Otl Aicher • complex New Year’s greeting card from Tomás Gonda for 1964 • greeting card, inkless intaglio by Tomás Gonda • card with poster designed by Tomás Gonda—with personal message about publication of parts of Symmetry project that he executed with wsh • New Year’s greeting card of Alexandre Wollner, HfG student (year not identified) • New Year’s greeting card of Alexandre Wollner for 1960 • notepaper of Hans (Nick) Roericht, HfG student—western window wall of the Mensa of the HfG, where Roericht had his design studio for years after the closing of the HfG and the restoration of the building • card for complimentary copy of a publication from Büro Aicher at Rotis calling card of Tomás Maldonado, Polytechnic of Milan • card for complimentary copy of a publication from Walker Art Center—Peter Seitz headed graphic design card for complimentary copy of a publication from Design Quarterly—signed by Peter Seitz, editor of the publication • card for complimentary copy of a publication from Design Quarterly—signed by Peter Seitz, editor of the publication card for complimentary copy of a publication from Design Quarterly—signed by Peter Seitz, editor of the publication • calling card of Herbert Ohl, relocated in Milan and Darmstadt calling card of Walter Zeischegg for his Atelier in Ulm calling card of Büro Aicher at Rotis • calling card of Tomás Gonda, relocated in New York City calling card of Design Claussen-Finks, Ulm • announcement of discussion, “Ulm—und was nun?” at Design Zentrum Berlin, sponsored by Olivetti, 1987 • announcement of lecture, “Macht Design Märkte?” at Design Zentrum Berlin, sponsored by Olivetti, 1987 • notepaper of ProduktEnkwicklung Hans Roericht with complimentary greeting of Petra Kellner, aid in Roericht Product Development Studio • exhibition announcement for de-collage exhibit of Martin Krampen, HfG student, at galeria cuenca, ulm, 1992 • postcard, HfG Buildings, Ernst Scheidegger, Fotoshop, made by HfG-Archiv • postcard, student room in Wohnturm, Ernst Scheidegger, Fotoshop, made by HfG-Archiv • postcard, entry and staircase at HfG, Claus Wille, HfG student, made by HfG-Archiv • postcard invitation to HfG activities at mies van der rohe haus, Berlin, 1999-2000—photo by Hans Conrad of Otl Aicher and Josef Albers with student at Ulmer Volkshochschule, location of original HfG • logo of CVS pharmacy (1984 example), designed by Frank Hess, HfG student, while working with the Cambridge Seven • calling card of Eckhard Neumann, HfG student, at Rat für Formgebung, Darmstadt [Neumann was a student in 1956-57 Grundlehre class with wsh] calling card of josef müller-brockmann (Gastdozent), Switzerland calling card of Brenhard E. Bürdek, HfG student, at Offenbach William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 36

• calling card of Tomás Maldonado, Milan residence calling card of Bernd Meurer, Darmstadt [Meurer was a student in 1956-57 Grundlehre class with wsh] calling card of Kohei Sugiura (Gastdozent), Graphic Designer

Box 10

Section 1: Correspondence with Vordemberge-Gildewart—1954-61

Letter: Alfred Roth to wsh, 20 x 54 In 1952, the noted Swiss architect Alfred Roth helped me and my colleague, Howard Wong, find temporary jobs in architectural firms in Zürich to tide us over the winter. He suggested that, when we traveled in the Spring, we should visit the Constructivist painter Vordemberge Gildewart in Amsterdam, Holland

Letter, carbon copy: wsh to Alfred Roth, pp 2, 15 xii 54

Letter, carbon copy: wsh to Alfred Roth, n.d. (probably around xx 55)

Letter: Vordemberge-Gildewart (v-g) to wsh, pp. 2, 15 xii 53

Letter: v-g to wsh, glued to rag paper, 23 iii 54

Letter, carbon copy: wsh to v-g, pp. 2, n.d.

Letter, carbon copy: wsh to v-g, 11 vi 54

Letter, carbon copy: wsh to v-g, 23 viii 54

Letter, carbon copy: wsh to v-g, 30 x 54

Letter, carbon copy: wsh to v-g, 15 xii 54 [date was wrong]

Letter: v-g to wsh, glued to rag paper, 12 xii 54 “occupied with all the difficulties of moving to ulm in January (ulm means south of germany, 1 1/2 hours from the swiss border.” v-g suggests I buy composition #126 which is in Chicago.

Letter: v-g to wsh, glued to rag paper, Amsterdam, 21 xii 54 “the 5th we stay in Amsterdam and move then to ulm.”

Letter, carbon copy: wsh to v-g, 17 xii 54 wsh encloses money draft for #126.

Letter, carbon copy: wsh to v-g, 1 i 55

Envelope with letter: Mrs. Sigmund W. Kunstadter to wsh, glued to rag paper, 3 i 55; with clipping showing Mrs. Kunstadter about shipment of #126.

Letter: Ilse Leda (wife of v-g) to wsh, Ulm, 5 i 55 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 37

“We first arrived in (early from the morning from Amsterdam.” “We live in a hotel as our house near school is not yet ready on account of the bad weather in Europe this year.”

Letter, carbon copy: wsh to v-g, 8 i 55

Letter, carbon copy: wsh to Mrs. Kunstadter, 8 i 55

Letter: Sigmund Kunstadter (Formfit) to wsh, 20 i 55

Letter: v-g to wsh, 7 ii 55 “now we are about 1 month at the hochschule für gesaltung, and however the beginning started with a big élan.” “until now 10 nationalities work here: from the far japan and new-zealand and from Switzerland too.”

Letter, carbon copy: wsh to v-g, 14 ii 55 “Enclosed is a sketch of a baptistry…”

Photostat: plan and elevation of baptistry

Original sketch: sketch of baptistry by v-g

Note: “explanation, v-g to wsh, 15 iv 55

Letter, carbon copy: wsh to v-g, 23 iv 55

Letter, carbon copy: wsh to v-g, 11 vi 55 wsh declares he wants to go Ulm and to work for Kahn.

Postcard: v-g to wsh, St. Moritz, 7 viii 55

Letter: Ilse Leda to wsh, 28 viii 55 “v-g is very busy in preparing the official opening of the highschool, which will take place end of September.”

Letter, carbon copy: wsh to v-g, 27 ix 55

Letter: Ilse Leda to wsh, 5 x 55 “vordemberge discussed your case (to apply for a Fulbright to go to the hfg) with the pro-rector of the highschool, mr. tomas maldonado…we hope and wish to see you soon here.” “at the moment there are holidays here, and on the 24th of this month begins the new semester, life on the ‘Kuhberg’ (this is the name of the mountain near ulm on which the school is situated) is fine. the opening was a big success, more than 8oo guests were present, under which 4o old members of the former ‘Bauhaus,’ but come and see yourself.”

Letter, carbon copy: wsh to v-g, 11 vi 55 “Louis Kahn, my great teacher at Yale University, has been asked to lecture at tge Hochschule by ax Bill. He was quite interested to do so. It would be fine if he came while I was there. e is wonderful person with a fine philosophy of architecture, and I hope to work with him about a year after studying with you.”

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 38

Letter: Ilse Leda to wsh, 24 xi 55 “the new semester is running since October 24, the student house is ready and most of the students live now near the school. in a few days we move in our new house, lucky for v-g, as he had no room to paint during the last 1 months,”

Letter, carbon copy: wsh to v-g, 14 i 56

Letter: v-g to wsh, 22 i 56 Composition no.169 is essentially no longer available.

Letter, carbon copy: wsh to v-g agent, 4 ii 56

Letter, carbon copy: wsh to v-g, 28 i 56 [4 ii 56] I decide to take composition no. 192.

Letter: Michelis Bank A.G., Zurich, to wsh, 10 ii 56

Letter: v-g to wsh, 21 ii 56 “since 3 weeks our highschool is surrounded by a phantastic snow-landscape…. unfortunately this week we are forced to stop our lessons in the highschool itself on account of scarcety of carbon. but we are practical enough in all situations, and so each professor give the lessons in his private studio.”

Letter, carbon copy: wsh to v-g, 19 iv 56

Letter: Ilse Leda to wsh, 23 iv 56 v-g preparing exhibition with Albers. v-g preparing an exibition in rio in June. wachsmann coming as guest professor.

Letter: Ilse Leda to wsh, zürich, 29 iv 56

Letter, carbon copy: wsh to Ilse Leda, 5 v 56 I received Fulbright.

Letter, carbon copy: wsh to v-g, 9 vii 56 The Hochschule requests samples of my work.

Letter: Ilse Leda to wsh, St. Moritz, 23 vii 56

Invitation to opening of exhibition: friedrich vodemberge-gildewart, Kaiserslautern [23 iii 57.]

Invitation; Ilse Leda to wsh, 22 xi 56 dinner at v-g’s, Ulm.

Letter, carbon copy: wsh to v-g, 17 ii 58 I’m going to Philadelphia, New York and New Haven this week.

Letter: Ilse Leda to wsh, 31 iii 58 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 39

“v-g ist nicht mehr mitglied des rektoratskollegiums-, und inzwischen werden sie wohl auch herrn Aicher in tale getroffen haben.” “im august gehen seiner bilder zur ausstellung nach Frankfurt, wien ist tnteressiert, ein parr andere deutschen städte ebenfalls…”

Letter, carbon copy: wsh to v-g, Philadelphia, 8 vi 58

Letter: Ilse Leda to wsh, 29 x 58

Letter, carbon copy: wsh to Ilse Leda, Philadelphia 15 xi 58 wsh mentions working on the Newspaper Plant and passing my state architecture exams, Perrine in mentioned.

Letter: Ilse Leda to wsh, glued to rag paper, 12 xii 58 “meanwhile we made the acquaintance of bud and jo perrine, what a nice couple!… ” “during the vacation we intend to say in ulm preparing v-g’s lectures beginning in January in the Grundlehre: cubism* only in painting, no architecture, no sculpture.” “* constructivism (russian), dada, Bauhaus, stijl. das rektoratakollegium but v-g, während 3 monaten darüber zu sprechen, da das night-wissen bestimter dinge der kunst, ihr einfluss auf produktform, architektur, ausstellungs gestaltung etc., erstaunlich war. dabei handelt es sich aber nicht um unterricht in malerei, sondern die malerei wird als mit-organisierende kraft behandlelt, das heisst gesetzmässigkeit zum synthetisischen werk (diese zeilen habe ich mir von v-g diktiren lassen, übersetzen kann ich sie aber nicht.) ” “was sie vielleicht nicht wissen: nachdem sie fort waren, hat sich nämlich in der abteilung architektur, jetzt abteilung bauen gennant, das studium des industrialisierten bauens als sehr wichtig erwiesen. ” This probably took effect at the beginning of academic 1957-58.

Letter, carbon copy: wsh to Ilse Leda, Philadelphia 3 i 59 I wish I were in Ulm to hear V-Gs lectures to the Grundlehre.

Letter, carbon copy: wsh to v-g, Philadelphia, 8 iii 59

Letter: Ilse Leda to wsh, glued to rag paper, 2 vi 59 wishing a happy birthday…remembering last year’s trip to Colmar and Ronchamp. I am asked to write something for v-g’s 60th birthday festschrift.

Letter, carbon copy: wsh to v-g, Philadelphia, 6 vi 59 regarding my honor to being asked to write something for v-g’s 60tth birthday publication.

Letter, carbon copy: wsh to Curator of Painting, Guggenheim. N,Y., 27 vi 59 requesting to know how many v-g paintings are in Guggenheim Museum..

Letter, carbon copy on Kahn stationery: wsh to V-G and Frau V-G, 10 vii 59 instructions concerning my article on v-g.

Article, typed, “The ironic obscurity of Vordemberge-Gildewart to American designers who have witnessed if not participated in, the betrayal of the principles of his constructivist colleagues,” 3 pages, 8 vi 59 (ink) This for a publication (Festschrift) to honor the 60th birthday of v-g.

Letter, carbon copy: wsh to V-G and Frau V-G, 17 xii 59 a copy of the Festschrift was received. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 40

my helping Lou Kahn with his class at Univ. of Penn I will arrive in Rotterdam next year on 3 June; plan to be in Ulm a week later. [I arrived at the HfG at the time that the Rektorskollegium elected its officer for the next academic year—the time that the methodologists took over reins of the HfG. Inge Aicher put me up in one of the Ateliers. Le Ricolais visited.]

Envelope: to wsh, xx viii xx Where are contents?

Envelope: to wsh, 14 iv 60 There are contents?

Letter: v-g to wsh, 29 iv 60 comments about my article; about Wachsmann and a congress in Tokio and Kahn. anticipating my visit.

Letter, carbon copy: wsh to V-G and Frau V-G, 9 v 60 I will go to Carnegie in September—responsible for the Basic Course for Freshmen and a smaller version for Graduate students. will stay at Schlöser’s in Delft.

Letter (sent to Delft): v-g to wsh, 21 vii 60 v-g’ friend Bihalji-Merin expects me in Beograd.

Postcard (sent to Delft): Ilse Leda to wsh, 6 ix 60

Letter, carbon copy: wsh to V-G and Frau V-G, 14 ii 61 “(2) The pedagogic program is in danger if it is surrendered to the scientists. These men, such as Rittel, seem dedicated and well based in their fields, but this does not qualify them to lead a design program, since their visions are not visually oriented. As long as they merely administer the machinery of the School, they can serve it well; but they cannot presume to possess the ability to select the lines of study that a design school should take. I know this is sensitive ground; I know there is much to be questioned about Maldonado’s methods (I have had, as you know, my personal experiences); yet I could better support his general program and aims over those of Rittel. This does not mean that Maldonado must be returned to the position of presiding member of the Rektorrat; Maldonado must understand that he can influence pedagogic trends without capturing and controlling the entire machinery of the School. “But Rittel’s desire to impose the use of color in product design over the ‘dull use of white, black, and grey’ is arbitrary and unsupportable and an indication of danger from a man’s lack of recognition of his limitations. Therefore, as a member of the Rektorrrat, your intuition as an artist will be of greatest significance and importance in guiding the pedagogic program between the Scylla of dilettantism (as accused of Maldonado) and the Charybdis of sterile scientific determinism [scientification] (as set forth by the scientists.)” mention of letter and postcard sent to Delft, and forwarded; I give my critique about what I saw at Ulm—concerning its “surrender to the scientists.”

•Postcard: Ilse Leda to wsh, 9 iv 61 about a 60th Festschrift for Konrad Wachsmann.

•Letter, carbon copy: wsh to V-G and Frau V-G, 14 ix 61 “I greatly regret that [Khan] was not invited to Ulm at the time Albers recommended him to Bill.” mention meeting Maldonado in [Aspen] Colorado and working with Kahn for the summer. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 41

Section 2: Fulbright papers

Letter, carbon copy: wsh to Institute of International Education, 14 vi 55 inquiry about Fulbright.

Letter: Institute of International Education (von Klemperer, Head) to wsh, n.d. sending material (indicated below).

Information sheet: Institute of International Education (von Klemperer, Head) “FULBRICHT AND BUENOS AIRES CONVENTION PROGRAMS FOR 1956-57”

Information sheet: Institute of International Education (von Klemperer, Head) “SUPPLEMENTARY MATERIAL REQUIRED FROM STUDENTS IN THE ARTS AND IN MUSIC”

Information sheet: Institute of International Education “SUPPLEMENTARY MATERIAL REQUIRED FROM STUDENTS IN THE ARTS AND IN MUSIC”

Information sheet: Institute of International Education “INSTRUCTIONS FOR PREPARING AND FORWARDING APPLICATIONS...”

Letter, carbon copy: wsh to Institute of International Education, 16 x 55 request for yellow form: “Confidential Report on Applicant.”

Statement of Purpose: for application by wsh, 2 pages, n.d. “to work” with Constructivist Vordemberge-Gildewart at the Hochschule fur Gestaltung.

Statement of Purpose (alternate): for application by wsh, 2 pages, n.d. “to work” with Constructivist Vordemberge-Gildewart at the Hochschule für Gestaltung.

Short Statement of Purpose: for application by wsh, n.d. “to work” with Constructivist Vordemberge-Gildewart.

Short Statement of submitted work: for application by wsh, 2 pages, n.d. “HOUSE FOR GEORGE F. HUFF, JR. AND FAMILY”

Letter: Institute of International Education (Wodlinger, Director) to wsh, 8 ii 56 request to present myself for a personal interview to Dr. Parshall at Carnegie Institute of Technology.

Letter: Institute of International Education (Wodlinger, Director) to wsh, 27 ii 56 I have passed “preliminary stages of the competition” and final selection is to be made.

Notification of Grant: Department of State International Education Exchange Service (Donald Cook) to wsh, 23 iv 56 assigned to Art Academy, Stuttgart; allowance of 4,200 DM, for one academic year.

Attachment with Award: Department of State International Education Exchange Service, 4 pages, n.d. “THE EDUCATIONAL EXCHANGE PROGRAM UNDER THE FULBRIGHT ACT”

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 42

Attachment with Award: Department of State International Education Exchange Service, 4 pages, n.d. “TERMS AND CONDITIONS OF UNITED STATES GEVERNMENT GRANT”

Letter, carbon copy: wsh to Institute of International Education, 30 iv 56 confusion stated over “duration” of grant from “9/27 to 10/6/56.”

Letter: International Education Exchange Service (Cook, Chief) to wsh, 2 pages, 3 v 56 acknowledgement of acceptance and tips of what to expect.

Letter: International Education Exchange Service (Lashly, Chief) to wsh, 5 v 56 explanation: dates of “9/27 to 10/56” are the orientation period.

Letter: sekretariat—Rösner to wsh, 12 vi 56 explanation regarding dates of “9/27 to 10/56” are the orientation period; report that the Fulbright Commission had assigned me to Ulm; prospectus sent; and request that I fill out forwarded application.

Instructions + Annex “A”: Pre-Departure Information for U.S. Fulbright Grantees to Germany, 1956-57 (Roeloffs, Chief) to wsh, 3 pages, n.d. departure from New York, Sept. 17, arrival in Bremerhaven, Sept. 27, on MS “Berlin” [note: The Berlin was formerly the Swedish hospital ship Gripsholm.]

Instructions: Schmidt-Hidding and Roeloffs to Fulbright “Experimenter,” July 1956. assigned to a man in Tuebigen who would find a family for my period of orientation. [Note: Since the HfG began on 1 October, before most German universities, I didn’t go to Tuebingen for the orientation.]

Letter, carbon copy: wsh to Herr Rösner, 8 vii 56 regarding the application papers and my objective to go the the HfG. [I may note have known that Rösner was a woman until I arrived at the HfG.].

Report: City of Pittsburgh (Slusser, Superintendent of Police) to whom it may concern, with thumb print, 6 vii 56 It was not understood that U.S citizens would have a police record only if they had done something against the law...

Fragebogen, carbon copy: wsh to Herr Rösner, 3 pages, n.d. response to questions, part of application to HfG...

Letter: sekretariat—Rösner to wsh, 3 viii 56 I would be admitted as a regular student to the grundlehre; school begins on 1 Oct. at 8:30; the HfG would arrange my living quaarters.

Letter, carbon copy: wsh to Dr. Haas, 16 vii 56 regarding finding a family for orientation..

Letter, carbon copy: wsh to Herr Rösner, 22 viii 56 regarding my admission to the HfG.and kiving quarters.

Letter, carbon copy: wsh to Herr Henning, n.d. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 43

seeking advice my assignment to the “grundlehre.”.[From my experience with pre-architectural courses at Yale, I feared that this “grundlehre” would be too fundamental; I scarely suspected that it was exactly what I was looking for.]

Letter: Rolf Gutebrod to wsh, 4 ix 56 answering for Henning; and spoken with Gugelot about my cirdumstances.

Letter, carbon copy: wsh to Rolf Gutebrod, 13 ix 56

Letter, carbon copy: wsh to Gugelot, 13 ix 56 I accept the conditions of study at the HfG; unsure about date of arrival..

Cover letter: Roeloffs to “All US Grantees Aboard MS ‘Berlin,’”, ix 56

Roster of Fulbright Grantees according to assigned German school, 8 pages, n.d. Chaparos and Huff are listed under Ulm.

Alphabetical Roster of Fulbright Grantees, 9 pages, status as of 29 viii 56

Paper: “COMMENTS OF FORMER AMERICAN FULBRIGH GRANTEES IN GERMANY” from John Mead, Exec. Sec., 6 pages, n.d. tips on behavior in Germany.

Letter: Henning to wsh, 4 x 56 Henning is on vacation and suggests meeting sometime..

Note: sekretariat—Rösner to wsh, 30 xi 56 concerning payment by the Fulbright Commission. I am to pay Frau Gomringer 4.50 for accident insurance for one Quartal.

Letter: FULBRIGHT COMMISSION—Karl Roeloffs to wsh, 4 i 57 Commission paid DM 780.- for the year; I’m refunded DM 20.-.

Form letter: FULBRIGHT COMMISSION (John Mead, Ex. Sec.) to wsh, 10 v 57 required statement of academic progress not received.

Letter, carbon copy: wsh to Fulbright Commission, John Mead, 13 v 57 shape response to form letter about “negligence” and “academic laxity”—citing my aid to Inge Aicher’s American tour and the school’s struggle around Bill..

Letter, carbon copy: wsh to Fulbright Commission, John Mead, 25 v 57 forwarding the required report and explaining further delay.

Form letter: walter schaer to alle studierended der hochschule für gestaltung wsh, 5 vi 57 about the present political siguation in the school..

Letter: FULBRIGHT COMMISSION—Karl Roeloffs to wsh, 16 vii 57 problem over baggage certificate. [I believe I shipped a small trunk to and from Ulm, aside from my hand luggage, which was a large heavy leather suitcase.]

Form letter: FULBRIGHT COMMISSION (Karl Roeloffs, Ex. Sec.) to wsh, 25 vii 57 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 44

“Final Report” not received.

Letter, carbon copy: wsh to Angelika Schrader, Editor of Funnel, 6 xi 57 thanks for printing article on the HfG in July Funnel.

Form letter: FULBRIGHT COMMISSION (Angelika Schrader) to Returnee, n.d.

Letter, carbon copy: wsh to Angelika Schrader, Editor of Funnel, 7 vii 58 I want more copies of the July Funnel.

Letter: Angelika Schrader, Editor of Funnel to wsh, 10 vii 58

Form letter: John Gullahorn to Former Grantee, 15 ix 58 Research project at Michigan State University, East Lansing, on Fulbright grants.

Letter, carbon copy: wsh to Angelika Schrader, Editor of Funnel, 30 xii 58

Letter: Angelika Schrader, Editor of Funnel to wsh, 14 i 59

Section 3: Correspondence with Josef and Anni Albers—1958-62 [Note: Originals of the xeroxed material may be in another file.]

Newspaper article, xerox copy: “Albers’ Abstracts Same in Design, Differ Only in Color,” Sam Hood, Pittsburgh Press, 17 iii 57

Newspaper article, xerox copy: “Letters to the Editor,” Edgar Kaufmann Jr., Pittsburgh Press, 21 iii 57 Response to column by Sam Hood..

Letter, carbon copy: wsh to Mrs. Schweikher, 10 xi 57 thanks for hospitality during Albers’s week’s teaching visit to Carnegie Tech. [I audited the course.]

Letter, carbon copy: wsh to Sam Hood, Pittsburgh Press, 6 i 58

Letter, carbon copy: wsh to The Editor, Pittsburgh Press, 6 i 58

Letter, carbon copy: wsh to Josef Albers, 25 v 58 I’m visiting New Haven and hope to review several paintings.

Letter, xerox copy: Josef Albers to wsh, 20 vi 58 about the painting “Consonant.”

Letter, carbon copy: wsh to Josef Albers, 29 xii 58 about picking up “Consonant.”

Letter, xerox copy: Anni Albers to wsh, 12 i 59 wait till February to pick up “Consonant.”

Letter, xerox copy: Anni Albers to wsh, 13 i 59 sent to new address of Kahn’s office: wait till February to pick up “Consonant.”

Letter, carbon copy: wsh to Josef Albers, 4 iii 59 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 45

invitation to Albers and his wife to have dinner with the Schweikners at my mother’s apartment during his upcoming trip to Pittsburgh.

Letter, xerox copy: Anni Albers to wsh, 11 iii 59 the alternative of a lunch is suggested.

Letter, carbon copy: wsh to the Schweikhers, 11 iii 59 inviting the Schweikhers also; inquiry about Schweikher’s use of double T on a church, which we might use for the newspaper plant in Greensburg,

Letter, carbon copy: wsh to Mrs. Albers, 26 iii 59 mention of our meeting in Pittsburgh—but it doesn’t mention a lunch or dinner..

Letter, carbon copy: wsh to Josef Albers, 4 iii 59 invitation to Albers and his wife to have dinner with the Schweikners at my mother’s apartment

Letter, xerox copy: Josef Albers to wsh, 4 i1 60.“I was most enthusiastic about the “Square” you had on your wall in January—with green center, I believe, and which was especially radiant under artifical [sic] light.” I had seen “Veiled”—my next purchase from Albers.

Letter, xerox copy: Josef Albers to wsh, 12 ii 60 about reserving “Veiled.”

Letter, carbon copy: wsh to Josef Albers, 29 iii 60 further negotiation aver “Veiled.”

Letter, xerox copy: Anni Albers to wsh, 4 v 60 deal made and ready to be picked up.

Letter, carbon copy: wsh to Mrs. Albers, 10 v 60 I was in New Haven, but not on my own with my car; I’ll have to get the three greens and a brown later.

Letter, xerox copy: Anni Albers to wsh, 10 v 60 suggests having Scheikher pick up my painting.

Letter, carbon copy: wsh to Josef Albers, 13 ii 61 does a NYC gallery handle Albers’s “inkless intaglios”; does he have a print of yellow and grey square for Dec. 1959 show at Janis?

Letter, xerox copy: Josef Albers to wsh, 2 pages), 21 ii 61 “In Ulm we were just on evening at the station hotel were [sic] we met Inge and Otl and two more. I did not want to see more on the Kuhberg. Beside we had to rush to Nurnberg and Munich.” “inkless intaglio”s are at The Contemporaries.

Letter, carbon copy: wsh to Josef Albers, 3 iii 61 “our class has been doing some of the classic Albers exercises...I hope that you can entrust this wealth to my ways.” thanks for [printed] black and “white etude of closed curves,” tube of paint and [printed] pair of constellations William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 46

“I have recently taken my own apartment—‘Veiled’ is fantastic.” 6 March, prints arrived damaged in the mail.

Letter, carbon copy: wsh to Josef Albers, 15 vi 61 I chose “Solo V”; I sent a Dual as a wedding gift. Maldonado visit after his trip to Aspen.

Letter, carbon copy: wsh to Josef Albers, 17 viii 61 I referred someone to Albers; I will be myself in New Haven at Nelson Wu’s.

Letter, carbon copy: wsh to Josef Albers, 22 viii 61 about last Sunday’s visit [20 Aug. 61].

Letter, carbon copy: wsh to Josef Albers, 9 ix 61 inquiry about size of “Craig Elwood Square”—probably in reference to “In Wide Light,” my third Albers.

Invitation, xerox copy: Albers exhibit at Janis, October 61

Newspaper article, xerox copy: “Living With Art,” Guy Northrop, Pittsburgh Press [?], October 61 “’Intaglio-Duo’ by Josef Albers (who is really one of he old-timers) is a fantastic flight into pure white; the etched depths of a plate appear on paper without the benefit of ink.”..

Newspaper article, xerox copy: “Josef Albers’ Work at Janis Gallery,” Brian O’Doherty, New York Times, October 61

Letter, carbon copy: wsh to Josef Albers, 9 x 61 conplaint about Janis, involving Fritz Sippel, who may have been buying a painting or the Ritchie firm.

Letter: Ben F. Williams, Curator, North Carolina Museum of Art, Raleigh, to wsh, 11 xii 61 retrospect on Albers planned; request for me to list the Albers’s work in my collection.

Letter: Ben F. Williams, Curator, North Carolina Museum of Art, Raleigh, to wsh, 3 i 62 request for “Veiled” and “In Wide Light.”.

Form: for Josef Albers Retrospective, Feb. 3 – Mar. 11, 1962, North Carolina Museum of Art, Raleigh, 2 pages.

Letter, carbon copy: wsh to Ben F. Williams, Curator, North Carolina Museum of Art, Raleigh, 17 i 62 I’m not satisfied with conditions regarding damage—and no information about shipping..

Letter, carbon copy: wsh to Sidney Janis, Ltd., 17 i 61 request for current values of Albers’ paintings for insurance purposes.

Added loose: Program: “Orientation Course for American Fulbright Grantees,” Bad Honnef/Rhein, Kurhaus, September 28 – October 6, 1956. [2 sheets—white and blue] I was able to participate in this “Orientation” for only a couple days, because the school year

Box 11 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 47

ulm 1: Vierteljahresbericht (Quarterly bulletin), October 1958 [11” x 11 ¾”, unbound] ulm 2: Vierteljahresbericht (Quarterly bulletin), October 1958 [11” x 11 ¾”, unbound] ulm 3: Vierteljahresbericht (Quarterly bulletin), January 1959 [11” x 11 ¾”, unbound] ulm 4: Vierteljahresbericht (Quarterly bulletin), April 1959 [11” x 11 ¾”, unbound] ulm 5: Vierteljahresbericht (Quarterly bulletin), July 1959 [11” x 11 ¾”, unbound] ulm 6: Zeitschrift der Hochschule für Gestaltung (Journal of the Hochschule für Gestalung), October 1962 [11 ¾” x 8 ¼”, bound] ulm was suspended after ulm 5.. It was brought back by Maldonado in a new format with ulm 6, during the period when the direction of the school had been taken over by a technologically oriented faculty. ulm 7: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), January 1963 [11 ¾” x 8 ¼”, bound] ulm 8/9: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), January 1963 [11 ¾” x 8 ¼”, bound] ulm 8/9: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), Sonderndruck aus ‘ulm’ 8/9 (Special print from ’ulm’ 8/9), Josef Albers n.d. [11 ¾” x 8 ¼”, unbound] This was issued to honor the publication of Albers’s Interaction of Color. Since I was at the HfG as a Gastdozent at the time, Maldonado asked me (Huff) to contribute $100 for the addition of color on the cover. ulm 10/11: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), May 1964 [11 ¾” x 8 ¼”, bound] ulm 12/13: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), March 1965 [11 ¾” x 8 ¼”, bound] This is the issue in which I (Huff) had my first major.article about Basic Design. There was an unusual additional feather in this issue, a silkscreen of designs of a Carnegie Institute of Technology student. The Department of Architecture paid for it. Unfortunately, when the third color was applied, the printer folded it too quickly and the blue-violet color stuck in patches, thus causing patches of it being lifted from the off the other colors. Probably over 90% was so damaged, so the rather clear one folded in this issue is quite rare. ulm 14/15/16: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), December 1965 [11 ¾” x 8 ¼”, bound] ulm 17/18: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), June 1966 [11 ¾” x 8 ¼”, bound] ulm 19/20: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), August 1967 [11 ¾” x 8 ¼”, bound] Maldonado left the HfG in Ulm and moved to Milan in June 1967. Bonsiepe had been named the Editor since ulm 12/13 (March 1965), but there is not doubt that Maldonado was really the editor up to the time that he left. ulm 21: Zeitschrift der Hochschule für Gestalung (Journal of the Hochschule für Gestalung), April 1968 [11 ¾” x 8 ¼”, bound]

Box 12 Neue grafik: internationale Zeitschrift für Grafik und verwandte Gebiete = New graphic design : international review of graphic design and related subjects = Graphisme actuel : revue internationale pour le graphisme et domaines annexes. Olten, Switz.: Otto Walter AG. no.1 (1958)-no.17/18 (1965)

Box 13 Spirale, 1953-1964 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 48

Scope and content: spirale: internationale zeitschrift für konkete kunst und gestaltung (edited by Marcel Wyss, Dieter Roth, Eugen Gomringer) was instituted in Bern, Switzerland, in 1953, the same year as the opening of the HfG. Not only is one of the three spirale editors, Eugen Gomringer, directly connected to the HfG; but the journal’s objectives, in a specialized sort of way, paralleled those of the HfG—and many HfGers’ works are found in its pages. All nine issues of spirale are offered as an adjunct to the HfG papers. Many associated (teachers, guest teacher, students) with the HfG are included in these issues: Max Bill, Max Bense, F. Vordemberge-Gildewart, Josef Albers, Eugen Gomringer, Otl Aichr, Herbert Ohl, Herbeert Lindinger, Karl Gerstner, Peter Raake, Tomas Gonda, Paula Mazetti (wife of M. Kramen) spirale 1: Internationale zeitschrift für junge kunst [n.d.] contents: 1 dieter roth / titelblatt, holzschnitt; 2 hans arp / einleitung; 3 erich müller / frau, scheiferschnitt; 4 hans arp / gedicht und linolschnitt; 5/6 bernhard luginbühl / linolschnitt; 7 wassily kandinsky / aus „das geistige in der kunst“; 8 max v. mühlen / linolschnitt; 9 wallace stevens / study of two pears, william carlos williams / nantucket, joachim uhlmann / septemberetude, paul celan; 10 kurt wirt / kopf, linolschnitt; 11 eugen gomringer / ciudad; 12 josef pillhofer / holzschnitt; 13 hermann plattner / linol- holzschnitt auflage. 49.7 cm x 35 cm (19 9/16 x 13 13/16) spirale 2: International review of young art [n.d.] contents: 1 imre reiner titelblatt linol; 2 paul klee gedanken über grafik und kunst im allgemeinen, 3 portrait paul klee; 4 paul klee gedicht; 5 paul klee oben und unten zeichnung sammlung felix klee; 6 federico garcia lorca café cantante noche raúl gustavo aguirre la soledad o es ella alberto vanasco carta de hastio; 7 marcel wyss einlage konstellation linol; 8 lili erzinger linol; 9 oskar dalvit holz; 10 claus henneberg untersuchung eines pferdes vor bildern; 11 leo leuppi holz; 12 saint-john perse vents; 13 franz eggenschwiler litho; 14 keneth patchen where every prospect an easy decision the wonderful sun; 15/16 dieter roth litho; 17 robert gessner holz; 18 klaus demus gedicht anneliese hager halluzionation; 19 walter binder holz auflage 600 exemplare sold at: sfr. 10.-49.7 cm x 35 cm (19 9/16 x 13 13/16) spirale 3 [n.d.] contents: 1 max bill variation 15 1935 zinkätzung; 2 eugen gomringer; 3 manuel arce canciones neo- realistas; 4 marcel wyss variation 3/5 1953; 5 eugen gomringer; 6/11 max bill vom flächigen zum räumlichen; 12 f. vordemberge-gildewart; 13 f. vordemberge-gildewart komposition 191/1953 lito; 14 eugen gomringer; 15 max bill tema zu -15 variationen- 22 linien im raum 1935-53; 16 jean frondère vocable; 17 richard p. lohse lito; 18 hans hofer démofile; 19 hans hofer schnee; 20 sofie taeuber-arp linol; 21 aurélie nemours dictung, marianne lundgren dichtung; 22 heinrich eichman lito; 23 hans arp point blanc; 24/25 verena wickart-loewensberg linol; 26 piet mondrian ausspruuche; 27 mary vieira lito; 28 camille graeser aforismen; 29 camille graeser holz; 30 hans hofmann; 31 hans hofmann linol auflage 600 exemplare sold at: sfr. 10.-50 cm x 35 cm (19 3/4 x 13 13/16) spirale 4 [n.d.] herausgeber und verleger marcel wyss dieter roth eugen gomringer spiral press wylerstrasse 69 bern schweiz contents [plastiknummer] (including, mary vieira, f. vordemberge- gildewart, marcel wyss, georges vantongerloo, martin kranpen, max bill, l. moholy-nagy, ben nicholson, hans arp) auflage 800 exemplare sold at: sfr. 15.-35.2 cm x 35 cm (13 13/16 x 13 13/16)—flexible cover 35 cm x 35 cm (13 13/16 x 13 13/16)—sheet William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 49

spirale 5 [n.d.] redaction marcel wyss / bild und gestaltung spiral press stadion wankdorf bern schweiz eugen gomringer / sprache hocschule für gestaltung, ulm / donau Deutschland contents: [contributions on architecture, fotogray, produktform and other problems of design] (including, josef albers, karl gerstner, eugen gomringer, marcel wyss, max bill, vordemberge-gildewart, tomás maldonado) auflage 900 exemplare sold at: [sfr. 15.-] 35 cm x 35 cm (13 13/16 x 13 13/16)—flexible cover 35 cm x 34.9 cm (13 13/16 x 13 1/2)—sheet spirale 6/7 [n.d.] redaktion + verlag marcel wyss spiral press, stadion wankdorf, bern schweiz sprache eugen gomringer, hochschule für gestaltung, ulm Deutschland gestaltung marcel wyss contents: (including, marcel wyss,richard p. lohse, paula mazetti, herbert ohl, camille graeser, eugen gomringer, herbert lindinger, max bense, otl aicher, l. moholy-nagy) auflage 1200 exemplare sold at: sfr. 25. 35 cm x 35 cm (13 13/16 x 13 13/16)—flexible cover 35 cm x 34.9 cm (13 13/16 x 13 1/2)—sheet s pira e 8 spirale: internationale zeitschrift für konkrete kunst und gestaltung Oktober 1960 redaktion + verlag marcel wyss, spiral press, stadion wankdorf, bern schweiz sprache: eugen gomringer, grundstrasse 23, frauenfeld schweiz gestaltung: marcel wyss contents: bilder-machen heute? gedanken und kommentare von karl gerstner.; herbert w. franke, das problem der lichtgrafik.; ben f. laposky, electronic abstracts—art for the space age.; kleine antologie konkreter poesie zusammengestaltung von eugen gomringer. sold at: sfr. 18.-35 cm x 35 cm (13 13/16 x 13 13/16)—flexible cover 35 cm x 34.9 cm (13 13/16 x 13 1/2)—sheet, including five acetates spirale 9/1964 (spiral 9/1964) contents: marcel wyss: trans-variationen 1958 (marcel wyss: trans-variations 1958) mit einer einleitung von karl gerstner (with an introduction by karl gerstner) in einer signierten auflage von 1000 exemplaren (in a signed edition of 1000 copies) sold at: sfr. 25.-

Box 14

Scope and content: This series currently consists of two oversize binders that house primarily promotional material and press coverage.

14.1 Offprint newspaper page: “Das Bauhaus lebt wieder” Deitsche Zeitung und Wortschaft Zeitunf, n.39, 18 May 1955 Note: This is one of a number of promotional offprints (Sonderabdruck) put out at the time the HfG moved from its provisional location in war damaged, downtown Ulm to its new building complex on the Kuhberg (which officially opened on 2 October 1955).

14.2 Offprint newspaper page: “Hochschule für Gestaltung,” Schwäbische Donau-Zeitung, [1955]

14.3 Offprint newspaper page: “Hochschule für Gestaltung Ulm: Die Grundlehre” from the Schwäbische Donau-Zeitung, [1955]

14.4 Offprint newspaper page: “Hochschule für Gestaltung Ulm: Abteilung Produktform” from the Schwäbische Donau-Zeitung, [1955]

14.5 Offprint newspaper page: “Hochschule für Gestaltung Ulm: Abteilung Visuelle Gestaltung” from the Schwäbische Donau-Zeitung, [1955]

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 50

14.6 Newspaper page: “Abenteur auf dem Q Berg” Frankfurter Allgemeine Zeitung, Feuilleton, n.82, 6 April 1957

14.7-10 Newspaper offprint (4 pages): “Eröffnung der Hochschule für Gestaltung Ulm: Dei Grundlehre” from the Schwäbische Donau-Zeitung, 2 October 1955

14.11 Newspaper page: “Kukturelle Instrengnen verdienen Bewunderung” Schwäbische Donau-Zeitung, 3 February 1957, p. 3

14.12 Newspaper page: notation, “Auf Seite 3: Die Max-Bill-Story” Deutsche Student-Zeitung, 8 May 1957, p. 1

14.13-14 Newspaper pages (2): “Hochschule entlaßt ihrem ‘Schöpfer’” Deutsche Student-Zeitung, 8 May 1957, p. 3, 5 Note: This is a very important article. It presents Max Bill’s side of his dismissal from the HfG, which was votes upon on the first day if celebration of Fasching at the HfG, 1 Mar 1957. Maldonado was especially aggrieved by the description of him as “Maldonado, Hidalgo mit indienaischen Einschlag.” Maldonado was a personal friend of Eberhard Ebner, who was the son of the publisher of Ulm’s influential Südwest Presse; so the damage that Bill could wreak upon the his adversaries at the HfG was minimal.

14.15 Newspaper page: Tomas Maldonado, “Eine Antwort: Die Ulmer Hochschule und ein Gegenspieler,” [Schwäbische Donau-Zeitung], n.255, 2 November 1975, p. 9

14.16 Newspaper page: “HfG - ein lebendiges Experiment,” Suudwest Presse, Ulmer Kulturspiegel, 18 October 1963, p. 13

14.17 Newspaper page: “Irischer Innenminister besucht Ulmer Hochschule,” Südwest Presse, Ulmer Tagblatt, 19 October 1963, p. 1

14.18 Newspaper page: “Antwort auf die Kreise der Bauwirtschaft?” Südwest Presse, Ulmer Kulturspiegel, 19 October 1963, p.12

14.19 Newspaper page: “Abgeordnete reagiren scharf,” Südwest Presse, Ulmer Tagblatt, 15 November 1963, p. 9

14.20 Newspaper page: “US-Botschafter McGhee in Ulm zu Besuch,” Schwäbische Donau- Zeitung, 29 January 65, p. 1

14.21 Newspaper page: “McGhee: ‘Ulm ist in USA bekannt,’” Südwest Presse, Ulmer Tagblatt, 29 January 1965, p. 9

14.22 Newspaper page: “Bewußt Risiken in Kauf nehmen,” Südwest Presse, Kulturspiegel, 30 January 1965, p. 11

14.23a Flier: “Mordanzeig: Ermordet wird die HfG,” [1968]

14.23b Flier: “Die Hochschule für Gestaltung soll weiterbestehen,” [1968]

14.24 Poster: “Bauhaus Weimar: Exodus 1; Hochschule für Gestaltung Ulm: Exodus 2,” 1968

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 51

14.25 Poster: “Bauhaus Weimar: Exodus 1; Hochschule für Gestaltung Ulm: Exodus 2,” 1968

14.26 Newspaper page: “Gestalter – Hochschule in Ulm am Ende,” Schwäbische Zeitung, 29 November 1968, p.1

14.27 Newspaper page: “Keine Chance mehr für die alte Hochschule” and “Max Bill: Ich würde mich in Ulm wieder engangieren . . .,” Schwäbische Zeitung, Universitätsstadt, n.256, 29 November 1968

14.28-29 Newspaper pages (2): “ Die alte HfG ist tot,” Südwest Presse, 29 November 1968, p.1, 9

14.30 Newspaper page: “Jetzt ist es geschafft: Neuer HfG-Start im Herbst,” Südwest Presse, 17 July 1969

14.31 Newspaper page: “Zum neuen Gestalter-Start auf dem Kuhberg: Neubeginn auf solider Basis, HfG-Start im Herbst,” Südwest Presse, 14 October 1969, [p. 9]

14.32 Newspaper page: “Institut für Gestaltung eröffnets: Neues Leben auf dem Kuhberg,” Südwest Presse, 15 October 1969, [p. 9]

14.33-34 Poster/Flier: Tomás Gonda, “TC 100,” Thomas Porzellanfabrik, Waldershof, Germany [one double-sided item] Note: One of the best-known products of the HfG was this institutional “compact” china, put out be Tomas, a subsidiary of Rosenthal. It was designed by Hans (Nick) Roericht as the practical portion of his qualification to be certified by he HfG at the end of his studies.

14.35 Newspaper page: “Max Bill combines poetry and math in art,” The Spectrum, Buffalo, 4 October 1974, 10

14.36 Newspaper page; picture caption: “Artist Exhibit,” Buffalo Evening News, 31 August 1974, p. A-1

14.37 Newspaper page: “An Artist for All Seasons,” Buffalo Evening News, 31 August 1974, p.C-6

14.38 Reproduction of student’s assignment: “Ungenau durch Genau,” assignment statement of Tomás Maldonado, executed by Adolf Zillmann, Hochschulr für Gestaltung, Ulm, 1955- 1956

14.39 Reproduction of student’s assignment: “Genau durch Ungenau,” assignment statement of Tomás Maldonado, “gemauer eindruck mut ungenauen metteln,” restatement by Adolf Zillmann, Hochschulr für Gestaltung, Ulm, 1 February 1956 Note: Zillmann was one of the best students of the first Grundlehre that was conducted by Maldonado. The solutions of the assignments are notable for different reasons: for Ungenau durch Genau, Zillmann introduced the rater as a perceptual artifice with great potential; his is one of the few solution ever presented for Genau dureh Ungenau.

14.40 Annual New Year’s greeting: “1980,” Peter and Uta Gautel (with sons) Note: Peter Gautel joined the HfG in its second year, 1954-55. In 1957 he married Brunnie Te Koch, personal secretary of Inge Aicher-Scholl in a civil ceremony in the William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 52

Rathaus. Inge A.-S. and I were their two sponsors; and we both gave them a reception afterwards at the HfG. Brunnie tragically died a few years later. His second wife was Uta. Peter’s father, Hermann Gautel, matriculated at the Dessau Bauhaus as student 209, during the Winter term, 1927-28 (Wingler: 616, 623); he was a known socialist during the Nazi regime and came under scrutiny. He lost his life in the German Army during WW2.

14.41a Annual New Year’s greeting: “1950,” Peter and Uta Gautel

14.41b Annual New Year’s greeting: “1988,” Peter and Uta Gautel (with sons)

14.42 Annual New Year’s greeting: “1984,” Peter and Uta Gautel (with sons)

14.43 Annual New Year’s greeting: “1989,” Peter and Uta Gautel (with sons)

14.44 Xerographic copy of newspaper page: “Una grande mostra a Genova rivisita l’esperienza della ‘Hochschule’ di Ulm: La Scuola degli oggetti,” and “Intervista con l’ex rettore dell’Istituto erede del mitico Bauhaus: Io, Maldonado, vi racconto com’ era,” Il Secolo XIX, Genoa, 15 November 1988 Note: These are articles regarding the exhibition Hochschule für Gestaltung Ulm, which opened at the Bauhaus Archiv, Berlin, 1986.

Box 15

1a-2a Brochure: Exhibition, “Einstein 125.” Ulm/Neu-Ulm Tourist-Information, 2004 [one double-sided item] Note: Einstein was born in Ulm, but his family moved away soon after his birth. This commemorative exhibition included Max Bill’s memorial Einstein sculpture.

2.1b-2.2b Brochure: “HfG-Archiv Ulm,” [after 1991] [one double-sided item] Note: On the reverse of the HfG-Archiv brochure: Three shown students’ basic design workss were executed under wsh when he served as Gastdozen in the first year of the Visu elle Abteilung.

3a-4a Brochure: Exhibition announcement for the 50 Jubilee celebration of the founding of the HfG, “Ulmer Modelle: Modelle nach Ulm” HfG-Archiv, 2003 [one double-sided item]

3-4 Entrance tickets: for the HfG Jubilee exhibition,” 2003 [one double-sided item, three tickets]

15.5 Newspaper page: “Das Modell Schneewittchensarg,” Süddeutsche Zeirtung, Feuilleton, 13/14 September 2003, p. 17

15.6-7 Newspaper page: “A Life Divided: Italy’s Quixote of Terrorism,” New York Times, 14 December 2002, p. A21, A23 Note: Inge Feltrinelli has been the avid supporter and steadfast companion of Tomás Maldonado for the past three decades. Her son Carlos Feltrinelli , author of Feltrinelli, grew up in the tutelage of Maldonado and was encouraged by Maldonado, an acquaintance of his countryman Che Guevarra, to resurrect Giangiacomo Feltrinelli’s memory. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 53

15.8 Newspaper page: “Inge Aicher-Scholl, 81, a German Whose Writing Inspired Pacifists: The Nazis killed two family members and gave her a mission,” New York Times, 6 September 1998, p. 25

15.9-12 Poster: Hermann Ay, “HfG Geschichte in Plakaten,” HfG-Archiv

15.13 Poster: Nicholas Chaparos, “leonard: kitts: scientific framework for, design knowledge, decision criteria and control,” [University of Cincinnati], 1964 Note: the image on this poster came from Chaparos’s 1956-57 Grundlehre resoltion (in black) of Maldonado’s assignment Ungenau durch Genau.

15.14 Poster: Friedrich Vordemberge-Gildewart, “josef albers, fr. vordemberge-gildewart, Karl- Ernst-Osthaus-Museum, Hagen,” 1957

15.15 Poster: Friedrich Vordemberge-Gildewart, “friedrich vordemberge-gildewart, Pfälzische Landesgewerbeanstalt, Kaiserslautern,” 1957

15.16 Poster: Otl Aicher, “Politik: Israel:. Lichtbildvortrag, Dr. Karl Schück Erlangen: Das heilige Land” [1960] 15.17 Poster: Otl Aicher, a 4-square checkered design in three colors

15.18 Poster: Otl Aicher, “Zoologie: Prof, Rudolf Bilz, Mainz, Der Schmerz der Tiere,” [1961]

15.19 Poster: Otl Aicher, a 16-square checkered design in three colors

15.20 Poster: Otl Aicher, “Politik: Dr. Heinz. Fahrenkamp, Horst M. Scheffeld, MA; Probleme der Entwicklungsländer,” [1961]

15.21 Poster: Otl Aicher, “Physik: Rechenanlagen Informationswandler Elektronenhirne; Prof. Dr. Karl Zeller,” [1961]

15.22 Poster: Otl Aicher, a raster design in green and black

15.23 Poster: Otl Aicher, a raster design in violet and black

15.24 Poster: Otl Aicher, “Aktuelle Musik: Werke von Ernst Krenek, Quintett für fünf Bläser, 1951” [1961]

15.25 Poster: [Otl Aicher?], “Kurs: Gerhart Binder und Otto Binnig; Kultur und Geschichte der Renaissance.” [Volkshochschule?] Note: This poster must have been by either Otl Aicher or Almir Mavignier..it was, however, probably not by Mavignier since upper case letters are used and the word “Kurs” is isolated at the left from the rest of the text.

15.26 Poster: Otl Aicher, [“Die Weise Rose”] Note: Die Weise Rose was the small, Munich based resistance group to which Inge Scholl’s brother and sister has belonged. Scholl dedicated her life to activities in remembrance of them. Two of these activities were the reestablishment of Ulm’s Volkshochschule and the co-founding of the HfG.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 54

15.27 Silkscreen Poster: Almir Mavignier, “almir mavignier,” galereie suzanne bollog, Zürich, 1960

15.28 Poster: Otl Aicher, “ausstellung: almir da silva mavignier,” Ulmer Museum, 1957 Note: According to Otl Aicher – 328 Plakate für die Ulmer Volkshochule by Martin Krampen, this poster was designed by Aicher. It has a square above center on the left edge and a square below center on the right edge. Apparently, Mavignier adapted this design to a series of posters that he designed for the Ulmer Museum by relocating the two squares—to the right of center on the upper edge and to the left of center on the lower edge. Mavignier also identified himself on his posters as the designer. It is possible that Mavignier influenced the design of this poster in that it has no upper case type.

15.29 Poster: Almir Mavignier, “ausstellung: graphik des 20. jhdts. aus eigenem besitz,” Ulmer Museum, 1958

15.30 Poster: Almir Mavignier, “ausstellung: berto lardera,” Ulmer Museum, 1958

15.31 Poster: Almir Mavignier, “ausstellung: eduard schöttle,” Ulmer Museum, 1959

15.32 Poster: Almir Mavignier, “ausstellung: ernst wilhelm nay,” Ulmer Museum, 1958

15.33 Poster: Almir Mavignier, “bilder der ‘brucke,’” Ulmer Museum, 1959

15.34 Poster: Almir Mavignier, “neue bilder: max bill,” studio f, Ulm, 1959

15.35-36 Poster/Flier: “Martin Krampen: Dècollagen,” Galerie Altesse, Nendeln, Liechtenstein, 1994 [one double-sided item] Note: Martin Krampen was in the first class of the HfG. He spoke excellent English, and we quickly became good friends. He studied in the Department of Visual Communication (Graphics) at the HfG. Krampen acquired a doctorate in Psychology from the University of Michigan, Lansing. He taught briefly in the Department of Graphics at the Carnegie Institute of Technology. He returned to Ulm in the mid 1960s and has lived there since. His main field has dealt with the psychology of design, specifically in regard to children’s art. During recent years, he has pursued as an avocation the art of the dècollage, which he developed mainly by recovering the accumulation of posters, built up layer upon layer, at designated billboard stations. He makes his compositions by lifting layers of the posters and stopping wher areas of interest come to view. Krampen has enjoyed much critical success in his art. Most of his annual New Year’s greetings have been reproductions of dècolages. These are among the papers that are included in my collection of HfG papers.

15.37-38 Poster/Flier: Participants and presentations, “Gestalt: Vision of German Design” 64th International Design Conference in Aspen, 1996 [one double-sided item] Note: By 1996, German design had moved beyond the HfG; however, i was still influenced by it, especially embodied in the design of Braun AG. Several HfG personalities presented at the conference, namely, Lindinger Lengyel, Müller. and Kornatzki. The typeface Rotis, designed by Otl Aicher at Rotis, was used on this poster.

15.39 Poster: Schorcht, “die funkbionalle form: langlebige indusrieprodukte unseres alltags,” Bauhaus, Dessau, 1978 William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 55

15.40 Newspaper page: “Josef Albers, Artist and Teacher, Dies,” New York Times, 26 March 1976, p. 38 Note: Albers was a guest teacher at the HfG during the school’s first two years.

15.41 Newspaper clipping: “Alfred Roth zum Gedenken,” [a Zürich newspaper], 24/25 October 1998, p. 55 Note: Alfred Roth and Max Bill were the two most important spokespersons of architecture and design during the period in which the HfG thrived. (In respsect to Paris, Zürich was the “other art center” of Europe. Roth was a friend of the emergent HfG in Ulm. It was through Roth that I became connected to the HfG.

Box 16-19

Pearwood models of crystals, made by Dr. F. Krantz, Rheinisches Mineralienkontor GmbH, Fraunhofer Str. 7, D 53121 Bonn.

Box 16 No. 1-50 Box 17 No. 51-100 Box 18 No. 101-150 Box 19 No. 151-195

Box 20 Synopse

Box 21 Synpose

Box 22-26 Munich posters

Box 27 “Design ‘Hochschule’ emerges,” Industrial Design, March 1967, pp. 72-79. I believe UB Special Collections already has tear sheets and even a proof of this article. This was probably the first comprehensive recognition of this school—outside of Germany. The article on IBM here (pp.48-59 is fortuitous: Eliot Noyes was one of my design teachers at Yale, and Maldonado had early contacts with him.

Speech [English]: “Speech of the Chairman of the Faculty Board of the Hochschule für Gestaltung (Ulm School of Design) Tomás Maldonado at the inauguration of the 1957/58 session on Tuesday 3 October 1957” This is an historic statement. There is a German version of this speech. This English version was issued by the HfG. The pencil marks on the upper right corner indicate the signing off of Paul Schweikher (also his initial), Head of Architecture at Carnegie Institute of Technology, and by architectural faculty Taylor, Vetter and by Lepper in the Industrial Design section Xerox of Speech [English]: “Speech of the Chairman of the Faculty Board of the Hochschule für Gestaltung (Ulm School of Design) Tomás Maldonado at the inauguration of the 1957/58 session on Tuesday 3 October 1957” Because of the poor quality of the paper, an early Xerox was made of it.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 56

Teaching papers from 1963/64, Hochschule für Gestaltung, Ulm

Lehrkörper, Hochschule für Gestaltung, Studienjahr 1963/64 This faculty list names only the regular faculty. None of die Gastdozenten, were listed.

Einhalt der Abteilungsarbeit: Einführung in die Gestalt, Abteilung Bauen, Hochschule für Gestaltung, Studienjahr 1963/64 Five stapled pages. I (Huff) wrote the studio hours on the upper right corner of the first page. This was the first year (I believe) when one whole week was devoted to studio instruction from.9.00 to 18.00. Whole alternate weeks were devoted to academic courses. This allowed the regular faculty of the HfG to travel or to devote full time to research pursuits. Aufgabe 1 (verbindliche Aufgabenliste), Abteilung Bauen, Hochschule für Gestaltung, Studienjahr 1963/64 This was the first of five academic years during which. I acted as a Gastdozent .for one whole Quartal. On this visit, I spent the first half quarter in the first year of Bauen and the second half in the first half of Visuelle Kommunikation. Note that this is a corrected version of the same document attached to the above stapled pages.

Abteilungsnormen, Abteilung Bauen, Hochschule für Gestaltung, Studienjahr 1963/64 Two stapled pages.

Aufgabe 4; Dozent Herbert Ohl, Abteilung Bauen, Hochschule für Gestaltung, Studienjahr 1963/64 • announcement of IFG Forum, post-HfG activities, Ulm • two cards for ordering publication of the HfG-Archiv, Ulm • nine announcements of showing of gold and silver jewelry of Thomas and Ilse Dawo (Dawo was HfG student) • announcement of showing of art work of Peter Hächler and shizuko yoshikawa (student of HfG), Zurich, 2004 • three postcards of Alfred Roth’s house, his design, in Zurich, Switzerland-with personal notes [Roth was a renowned Swiss architect, teacher, and editor, had worked for Le Corbusier—and was initially responsible for my going to the HfG in Ulm]

Maldonado speech at inauguration of 1957/58 session, 3 Oct. 1957

Hochschule für Gestaltung papers: • Hochschule für Gestaltung: Information 63, September 1963 (20 pp + cover page) • hochschule für gestaltung: lehrplan produktgestaltung 1962/63, September 1963 (23 pp + cover page) • Fachhochschule für Gestaltung Schwäbisch Gmünd, 1979/80 (12 pp, inc. cover) Schwäbisch Gmünd is a small town, an hour’s drive west of Ulm. It had a small arts and crafts school (under a different name), whose main reputation had been built on jewelry design. After the closing of the HfG, several former students remained in Ulm, most of whom lived in houses that ware part of the original HfG complex or built afterward by the Geschwister Scholl Foundation. Most of not all of these persons gravitated to the design school in Gmund and rebuilt a curriculum that was mainly based on lessons from the HfG— among who were the Fachhoschule’s Rektor and Prorektor. • HfG-Synopse: Taschensynopse—Eröffnungsausgabe: 1982 (20 pp + cover page) A “Pocket Synopsis” put out by Hans (Nick) Roericht and distributed at an opening of the exhibiting of his HfG-Synpose. See publication note on front cover.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 57

Josef (and Anni) Albers papers: • greetintg card (color printing): Josef Albers, Homage to the Square: Closing, Gugenheim Museum • publication announcement (printed insert): promotional text for portfolio silkscreens, Homage to the Square series, 1962 • publication announcement (silkscreened cover for insert): 1 of 3 promotional silkscreens, Homage to the Square series, 1962 • publication announcement (silkscreened cover for insert): 2 of 3 promotional silkscreens, Homage to the Square series, 1962 • publication announcement (silkscreened cover for insert): 3 of 3 promotional silkscreens, Homage to the Square series, 1962 Albers was very demanding about the register of his silkscreend, most of which were done by Sillman-Ives, two faculty members in his Department of Fine Arts—this demand for perfection included even announcements for his portfolios and shows. Two of these announcements have three colors; the third has four colors: blue, grey, yello- grey, and yellow-yellow-orange. I have a similar Homage in oil (In Wide Light), escepting that the two outer colors are reversed. • exhibition announcement (probably silkscreen): “Anni Albers: prints and drawings,” Zabriskie Gallery, NYC, 20 May – 14 June 1975 • photo reproduction: Josef Albers, Intaglio Solo X (1953), inkless intglio verso: inscription, “Our best wished to you, both Albers’ • invitation (probably silkscreen): Opening of Josef Albers Museum (Quadrat Bottrop), Bottrop, Germany, 25 June 1983 attending: Anni Albers, Vice President George Bush, Bundeskanzler Helmut Kohl • envelope (STADT BOTTROP) for invitation and notice: note three Bauhaus postage stamps with image of an Albers drawing • card (printed text) and envelope: intention to attend opening of Josef Albers Museum, Bottrop, Germany; on envelope, Alber’s design of a coat-of-arms for the city of Bottrop, 1924 and Bauhaus stamp with Albers drawing. • note and envelope: greeting from Gunter and Doris Schmitz who attended the opening of the Albers Museum, Bottrop, Germany

Brochure packet with application form—1956: “hochschule für gestaltung ulm” Similar papers will be found in the 1964 brochure, but there are also differences. The differences have historical significances.

Brochure packet with application form—1964: “hochschule für gestaltung ulm” Similar papers will be found in the 1956 brochure, but there are also differences. This one includes a “diplomordnung,” whose regulations had not been drawn up by 1956.

Poster: ulm—„Die Moral der Gegenstände: Hochschule für Gestaltung Ulm 1953-1968,“ prAsentiert von Olivetti, Bauhaus-Archiv, Berlin, 4. Juli-13 September 1987.

Invitations and announcements in regard to the Ausstellung (Exhibition), „Die Moral der Gegenstände: Hochschule für Gestaltung Ulm 1953-1968. “ William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 58

Diskussion (Discussion): “Ulm—und was nun?”—2. Juli 1987.

Einladung (Invitation) zur Eröffning der Austellung. „Die Moral der Gegenstände: Hochschule für Gestaltung Ulm 1953-1968,“ prAsentiert von Olivetti—3. Juli 1987, 18.00 Uhr.

Filmprogramm aur Austellung, „Die Moral der Gegenstände: Hochschule für Gestaltung Ulm 1953- 1968,“—4/5/6/7/11/12/13/14, Juli 1987.

Item-level description of contents of red folder - Academic document: “vorläufige diplomordnung,” dated December 1958, pp.4 Note: vorläufige deplomordnung = provisional diploma regulations. When I was a student in 1956-57, the whole question of qualification was debated with the students. Some were so idealistic, that they did not even was any kind of certifying certificate. In order to qualify for completion, the student had to do two types of work: a practical work (einer praktischen arbeit); a theoretical work (einer schriftlichen arbeit über ein theoretisches theme).

- Academic document: “erläuterungen diplomordnung, vom 6 Dezember 1957,”+ dated December 1958, pp.2 Note: erläuterungen deplomordnung = comments on diploma regulations [from 1957].

- Academic document: “testatordnung,” dated September 9 1958, pp.2 Note: testatornung = testament egulations. Every student was given a thin, cloth bound hardcover book, the Testat, where each page was a printed for the insertion of the class’s discipline and the instructor’s signature, indicating that the student had satisfactorily participated in the class. [I am attaching to this set of documents my own Testat.]

- Academic document: “ergänzungen zur diplomordnung,” dated 1 October 1960 Note: ergänzungen deplomordnung = supplements to diploma regulations [from 1957].

- Academic document: “Mitwoch-Seminar” [1960/61 to 1963/64, dated 24 February 1965, pp.5 Note: The Wednesday Seminar was probably instituted in the 1960/1961 academic year; it was held in the afternoon, and all in the school were to attend. A new public lecture room was built in the area of the Mensa—north of the dining area. My lecture is listed on p.4; I gave another the following year. Note that uppercase is used on this document, but not on earlier documents.

- Academic document: “betr.: unterrichträume,” dated 26 September 1963 Note: management: teaching spaces

- Academic document: “otl. aicher; ansprache zur eröffnumg des studienjahres 1963/64,” dated, 1 October 1963, pp.7 Note: Address at the opening of the academic year 1963/1964. This was the year that the design faculty regained the direction of the HfG—after a three-year interregnum during which the methodologists (soft scientists) took control of the school. This was the first that I returned for a Quartal as a Gastdozent. I believe I was present at this address. Note that Aicher is using only lowercase.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 59

- Academic document: “Studienjahr 1963/64,” dated 7 October 1963 Note: 1963/64 academic year schedule. In this year, mainly the initiative of Maldonado, there were alternating weeks of design studio (AA Abteilungsarbeit) and academic studies (Th or theoretical). The idea was justified on two points: (1) this allowed the design staff to concentrate on research or to travel for purposes of research development; (2) the academic teachers were principally visiting teachers, who could visit for more days every other week.

- Academic document: “Abteilung Bauen: Studienjahr 1963/64, 1. Studienjahr, 1. Quartal…Aufgabe 4” [n.d.] Note: The statement of Assignment 4, given by Herbert Ohl to the First Year students in the Building Department during the first quarter of academic year 1963-1964.

- Academic document: “D i p l o m e” dated 18 February 1965 Note: A listing of all Diploma works that had been presented to date.

- Academic document: “Erläuterungen” [n.d.] Note: Abbreviations used on the class schedules.

- Form letter: from Schweigkofler to wsh [17 December 1963] Note: An invitation to have a “now traditional” pre-Christmas evening meal with the students.

- Scrip: Three 5 Pfennig pieces of scrip used in HfG Mensa Note: The scrip was used to buy the meals in the Mensa and coffee at the Coffee Bar. Cash was used when the Coffe Bar turned into a beer, win, and liquor bar at night.

- Drawing: “Dominic”; notation by wsh: “by Doninique Raake, March 1965, portrait of W. S. Huff” Note: Peter Raake was a new Dozent in the Formgestaltung Abteilung and lived with his family in the same dormitory block where I was usually housed; however, this year, I stayed in the house of Tomás Maldonado. Peter, his wife, Stefan Lengyl, guest teacher in Produkt Form, and I often played ricky-dicky, a card game, far into the morning while drinking apple wine.

- Drawing: notation by wsh: “March 1965 portrait of Ingrid Raache by D. Raake.”

- Drawing: notation by wsh: “March 1965 portrait of Peter Raache by Dominique Raake.”

- Drawing: notation by wsh: “self portrait of Dominique Raake March 1965.”

- Drawing: notation by wsh: “March 1965 A man by Dominique Raake.”

Correspondence and other papers concerning the exhibition, “Hochschule für Gestaltung Ulm” at the Bauhaus-Archiv in Berlin, opening 3 July 1987

This exhibition, mainly sponsored by Olivetti, was the most comprehensive exhibition about the Hochschule für Gestaltung to date (2008)—more comprehensive than the Fiftieth Jubilee exhibition of 2003. It traveled to Italy, France, and Japan. The book, Hochschule fur Gestaltung Ulm: Die Moral der Gegenstände, edited by Herbert Lindinger (Berlin: Ernst & Sohn, 1987) came out of it. MIT published an William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 60

English version, and there is a version in Italian and Japanese. There is an abbreviated French catalog. Both William Huff and Gunter Schmitz had numerous works of their students represented in it. Photographic material had to be obtained from the Museum of Modern Art in NYC, since it had in its pedagogic design collection several students’ designs done at the HfG.

Box 28 9 color plates executed by William S. Huff under the instruction of Helene Nonne-Schmidt, Hochschule für Gestaltung, November 1956. Ulm portfolio (12 7/8 x 17 1/2 inches) Helene Nonne was a student of Paul Klee at the Bauhaus, and many aspects of these exercises are based on Klee; she married the Bauhaus Master, Joost Schmidt, and other aspects of these exercises are based on his studies as well. The most important contribution to the color theory was the triangulation of colors, rather than the circling of colors, as diagrammed by Runge and earlier color theorists.

1. 10 3/16 x 14 15/16 (aquarelle) 1a. exercise in value three different scales: 7 steps (gehen); 5 steps (laufen); 3 steps (springen) 1b. exercise in value with color and black 1c. color wheel with only red,, yellow and blue 1d. color scale with only red,, yellow and blue

2. 10 3/16 x 14 15/16 (aquarelle) 2a. great color wheel with only red,, yellow and blue three different scales: 7 steps (gehen); 5 steps (laufen); 3 steps (springen) 2b. twelve squares of colors in two lines—complementary colors paired vertically 3b. twelve color triangles colors exhibiting primaries, secondaries, and tertiaries

3. 10 3/16 x 14 15/16 (aquarelle) four colors triangles, with overlapping colors according to diagrams

4. 10 3/16 x 11 1/2 (aquarelle) six colors triangles, with the overlapping of different combinations of primary, secondary and tertiary colors This plate was cut down and framed in the 1960s. It was signed upside-down. The predominantly red triangle should be at the top and the green triangle at the bottom.

5. 10 3/16 x 14 15/16 (aquarelle) nine colors cubes, with overlapping colors according to diagrams in plate 6

6. 10 3/16 x 14 15/16 (aquarelle) explanatory diagram for plate 5

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 61

7. 10 3/16 x 14 15/16 (tempera chips) diagram: horizontal color sections cut through the outermost skin of the color sphere 7a. section cut through the sphere’s equator of full spectral colors 7b. section cut through a higher circle of the sphere’s tinted colors 7c. section cut through a lower circle of the sphere’s tinted colors 7d. section cut through a higher circle of the sphere’s shaded colors 7e. section cut through a lower circle of the sphere’s shaded colors This plate was a class endeavor. There are 66 different colors in this plate and around 34 students in the first year design studio (Grundlehre). Each student was assigned from one to two colors and painted large sheets of them. A circular die-cutting tool punched out the color circles for each member of the class to glue onto his/her own prepared sheets.

8. 10 3/16 x 14 15/16 (ink and tempera chips) diagram: vertical color sections cut through the outermost skin of the color sphere from the white pole to the black pole Three vertical sections are laid out in this plate—each indicating a primary color at one extreme and its complementary color at the other. Each student could chose between the yellow-violet; orange-blue, or red-green ring.

9. 10 3/16 x 14 15/16 (ink and tempera chips) diagram: aspects of the color theory, according to Ostwald (Wilhelm), which recognizes different sets of complementary colors from the complementaries that are identified according to the prevailing Runge theory.

Box 29

2 folders inventoried 4 items (received 10/11) Box with calendar

• Book (soft cover):Hans Koepf, Ulmer Profanbauten: Ein Bildinventar (Stuttgart: Kommissionsverlag W. Kohlhammer, 1982). Though important parts of Ulm were destroyed at the end of World War 2, much of Ulm survived. Ulm, a small city with a large cultural heritage, is an integral part of the HfG, Ulm, and vice versa. This includes parts of Ulm that were destroyed, as well as parts that survived.

Box 30 • Brochure: “Masterplan für das HfG-Archiv Ulm,” concept and text, Dagmar Rinker, Marcela Quijano, Christiane Wachsmann, published by Ulmer Museum/HfG-Archiv, May 2009. Reproduction of two of W. S. Huff’s students work, p. 6, before his move to Europe in 1954. Mention of W. S. Huff under “Resources,” p. 18. • Conference material: twelve “Table Cards, each with one HfG Ulm Master,” Conference, “Look Back Look Forwad: Hfg Ulm and design education in India, Kolkata, India, 28 September 2010. This set includes a table card for W. S. Huff. • Exhibition Announcement with invitation: “Walter Gropius im Wettbewerb / Walter Gropius in Competition, Berlin; Bauhaus Archiv, Berlin, 21 October 2011 – 9 January 2012.

William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 62

• Brochure: “Bauhaus Archive / Museum of Design—Programme 2011, Berlin; Bauhaus Archiv, Berlin. Note that the title of this brochure is cleverly edited with color to have it read either in German (red) or in English (blue). Though there have been many publication on the Bauhaus throughout the years, such items as this indicated what might be relevant about it today.

• Martin Krampen, “Las ciencias socials y el diseño del entorno,” Cuadernos summa — nueva visión 17 (February 1969) pp. 7-16. Martin Krampen was a student in Kommunikation at the Hochschule für Gestaltung (1953-56). Tomás Maldonado was Krampen’s first and among his main mentors on the subject of pictographs. This article demonstrates two things: (1) the reach of HfG students, (2) Tomás Maldonado’s support of his students.

• Hans (Nick) Roericht, aus gegebenen anlass (Ulm: Studio Hans (Nick) Roericht, 31 March 1997). I consider this to be a rare and valuable document. There is, I believe, a companion document in UB’s Special Collections that was also executed by Hans (Nick) Roericht. These are measured drawings of the built-in furniture in the Ateliers of the HfG building complex, as designed and installed by Max Bill in 1955. Renovations have since been made and much of this built-in furniture has been replaced. Studies for the renovations are part of this document. Originally, each entry to the ateliers had two single units with a shared wc in the entry. Each unit had a wash sink. Showers were in the basement of the nearby Wohnturm (Dormitory). There were no kitchen facilities, unless a student added an electric hotplate. In some renovation proposals, the wall between the two back-to-back units was penetrated, so that they could be made into one unit that includes bath and kitchen facilities; in other proposals the spaces were connected only across the entry.

Papers from the early days of HfG-Archiv The HfG closed at the end of academic 1967-68. The contents left behind in the HfG building were boxed and stored in a warehouse space under the care of the Ulmer Museum. At one point, the Bauhaus Archiv in Berlin proposed taking on the HfG archive; but former HfGers protested, and eventually in 1987, nearly two decades later, the City of Ulm established the HfG-Archiv under the Ulmer Museum—housing it in a former military, masonry barracks along with other, separate city archives. It was moved from downtown Ulm to the former HfG building, renovated in 2010, on the Kuhberg in 2011. http://www.hfg-archiv.ulm.de/english/the_collections/ • Letter: Dr. Veronika Darius to wsh, 2 xi 1988. (2 pages) Dr. Darius introduces herself as having be contracted by the City of Ulm the year before to organize the Archive for the HfG. She is gathering material for the HfG time for the Archive. • Letter: wsh to Dr. Veronika Darius, 27 vi 1989. (1 pages) • Letter (second page only): Christiane Wachsmann to wsh, [before 18 July 1989]. ([2] pages) Christiane Wachsmann is a successor director of the HfG-Archiv. She writes about plans for the end of August and the end of September including a meeting of the IfG and the theme of a new exhibition, “Plakate an der HfG.” She asked if I had any HfG posters. “HfG – Geschichte in Plakaten” opened on 22 September 1989 under Christiane Wachsmann. She was replaced in following times, but hired back as an archivist around 2009. • Letter: Christiane Wachsmann to wsh, 18 vii 1989. (1 page) I announce a plan to visit Ulm in August. She refers to her last letter (above). • Letter: Christiane Wachsmann to wsh, 4 i 1990. (2 page) She sent three posters from the exhibition on posters—one of which is in UB’s Special Collections). • Letter: wsh to Manfred Winter, 19 iv 1990. (1 pages) William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 63

I am trying to locate several designs executed by Winter in my HfG class. • Letter: Christiane Wachsmann to wsh, 13 vi 1990. (2 page) A negative response regarding the Archive’s acquisition of my students’ basic design work. A change in the directorship of the Ulmer Museum. • Letter: Manfred Winter to wsh, 24 vi 1990. (1 page) Winter has only slides of his work, which he sends me. I had the slides copied and returned to him • Letter: wsh to Christiane Wachsmann, 27 vi 1990. (1 pages) I prepared and sent slides of basic design material executed at the HfG by students of Maldonado and Huff, and material executed at CIT under Maldonado. • Letter: wsh to Manfred Winter, 2 viii 1990. (1 pages) I suggest he donate his notebook to the HfG-Archiv. • Letter: wsh to Christiane Wachsmann, 28 viii 1990. (1 pages) I enclose a corrected list of Aufgaben executed under T. Maldonado and W. Huff. • List: Descriptions of “Aufgaben from the HfG (Tomás Maldonado and William S. Huff, Instructor) and CIT (Tomás Maldonado, Instructor), 1 vi 1990. (12 pages) Slides sent separately with the above letter of 27 vi 1990. • Letter: Dr. Brigitte Reinhardt to wsh, 2 x 1990. (1 page) Courtesy letter, regarding my proposed bequests, from the new director of the Ulmer Museum. • Translation of letter: Dr. Brigitte Reinhardt to wsh, 2 x 1990. (1 page) Courtesy letter, regarding my proposed bequests, from the new director of the Ulmer Museum. • Letter: Dr. Hartung, Bürgermeister to wsh, 10 xi 1990. (1 page) Courtesy letter, regarding my proposed bequests, from the new director of the Ulmer Museum. • Translation of letter: Dr. Hartung, Bürgermeister to wsh, 10 xi 1990. (1 page) Courtesy letter, regarding my proposed bequests, from the new director of the Ulmer Museum. • Letter: wsh to Dr. Brigitte Reinhardt, 6 vi 1991. (2 pages) • Letter: wsh to Dr. Hartung, Bürgermeister, 6 vi 1991. (2 pages) Courtesy letter, regarding my proposed bequests, from the new director of the Ulmer Museum. • etter: wsh to Dr. Brigitte Reinhardt, 6 vi 1991. (2 pages) • Letter: wsh to Dr. Hartung, Bürgermeister, 6 vi 1991. (2 pages) • Letter: Christiane Wachsmann to wsh, 25 vii 1991. (2 pages) A reconsideration of the Archive’s acquisition of my students’ basic design work. • Letter: Dr. Hartung, Bürgermeister to wsh, 19 viii 1991. (1 page) A reconsideration of the Archive’s acquisition of my students’ basic design work. • Letter: wsh to Christiane Wachsmann, 26 x 1991. (1 pages) Inquiry: Who lectured at the HfG on 26 June 1957. • Letter: wsh to Christiane Wachsmann, 1 i 1992. (1 pages) Repeated inquiry: Who lectured at the HfG on 26 June 1957. • Report: “Jahresbericht des HfG-Archivs 1991/92” from Christiane Wachsmann, 26 v 19923. (1 pages, 2-sided) • Letter: Christiane Wachsmann to wsh, 27 i 1994. (1 page) Hiring of Marcela Quijano.. • Letter fax: Christiane Wachsmann to wsh, 22 x 1994. (1 page) • Christmas greeting with note and enclosures: Christiane Wachsmann to wsh, 14 xii 1990. Sent with enclosures about the Hans Gugelot exhibit. • Xerox of news clipping: “Design is gar nicht lehrbar,” Südwestpresse, 7 ix 1990. Enclosure about the HfG-Archiv exhibition on Hans Gugelot. • Xerox of news clipping: “Jenseits von Plüsh und Pomp,” Stuttgarter Nachrichten, 21 ix 1990. Enclosure about the HfG-Archiv exhibition on Hans Gugelot. William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 64

• Xerox of news clipping: “Blick in die Ulmer Design-Werkstatt: Produktentwicklung mit System,” Handelsblatt, 29 ix 1990. Enclosure about the HfG-Archiv exhibition on Hans Gugelot. • Xerox: inventory of slides of HfG students’ work executed under William S. Huff, Instructor, [n.d.]. (8 pages) • Xerox of review: Vicki Goldberg, “Photography View: Lessons in High Seriousness, Low Parody and Borrowing” exhibitions of photographs by Laszlo Moholy-Nagy etc., London, New York Times (29 January 1995). Fine Bill design “Pythagorean triangles as a Square (1978)”on cover page. • Xerox of review: Andrew Mead, “The Critic” on exhibition of Max Bill at Annely Juda, London, AJ (2 June 2011)—forwarded by Brian Carter to wsh. Fine Bill design “Pythagorean triangles as a Square (1978)”on cover page. • Letter and card: Doris Schmitz to wsh, 19 vi 2004. Notes after death of Gunter Schmitz. • Letter: Thomas C. Dawo to wsh, 6 ii 2010. My HfG classmate who kept me informed on news about the former HfG. • New Year’s Greeting: print of decollage, “Power, Light, and Warmth,” by Martin Krampen, 1992, for New Year 1993. [Should be archived with other greeting cards of Martin Krampen.] None located 11/11 je • Leporello brochure for exhibition : “Hochschule für Gestaltung Ulm,” sponsored by Olivetti, 1985- 87. • Schedule: Ulmer Museum—Mai Juni 1988. Exhibiting of “Thomás [sic] Gonda—A life in Design: 7, June bis 19. Juli 1998, Included, Gonda’s design for Symmetry project of W. S. Huff. • Invitation: “Otl Aicher zum Geburtstag,” Ulmer Museum, 13 Mai bis 22 August 2010 Commemoration of Otl Aicher’s 88th birthday. • Brochure: “Bauhaus Archive / Museum of Design—Programme 2011, Berlin; Bauhaus Archiv, Berlin. • Poster (folded) of Büro Aicher at Rotis.

Box 31 • Mario H. Gradowczyk, Esteban Lisa: de Arturo al Di Tella (Buenos Aires: Galeria Ruth Benzacar, 2002). This catalog on the work of Esteban Lisa gives context to the early career of Tomás Maldonado as an avant-garde artist and leading critic in Argentina, before his move to Europe in 1954. • Martin Krampen, Michael Götte, Michael Kneidl, Die Welt der Zeichen: Kommunikation mit Piktogrammen / The World of Signs: Communication by Picktographs (Ludwigsburg, Germany: avediton 2007) with DVD and large poster. Martin Krampen was a student in Kommunikation at the Hochschule für Gestaltung (1953-56). Tomás Maldonado was Krampen’s first and among his main mentors on the subject of pictographs. • Franco Clivio, Hans Hansen, Pierre Mendell, Hidden Forms (Basel: Birkhäuser 2009). Franco Clivio was a student in Produktform at the Hochschule für Gestaltung (1963-68). One article in this book if by Tomás Maldonado, one of Clivio’s teachers. • Reintraut Semmier, photography; Uwe Heinloth, text, Jugendstil und Historismus in Ulm (Münster, Germany: Klemm & Oelschläger, 2010). Though important parts of Ulm were destroyed at the end of World War 2, much of Ulm survived. Ulm, a small city with a large cultural heritage, is an integral part of the HfG, Ulm, and vice versa. • Mario H. Gradowczyk, Arte Abstracto: líneas desde el Sur (Buenos Aires: Eduntref 2006). William S. Huff Papers. Hochschule für Gestaltung Collection MS 139 page 65

Tomás Maldonado was arguably the most important pedagogue of the HfG-Ulm. Before Ulm, he was a principal leader of the Concrete Art movement in Buenos Aires. His early influence as a Concrete Artist and development as an important art critic is well represented in this publication from the place of his origin.

Box 32 • Book: Helmut Schmidt, der Weg nach Basel / the road to Basel / Basel e no michi (Tokyo: Robundo Publishers, 1997). The graphic design department (Visuelle Kommunikation) was much influenced by two competing .Swiss schools of graphic design, Zurich and Basel. • Catalog: La Scuola di Ulm: Una nuova cultura del progetto, edited by Herbert Lindinger, et al. (Genoa: Costa & Nolan 1988)

• Book: Vordemberge-Gildewart: The complete works, edited by Dietrich Helms (Munich: Prestel, 1990).

Box 33 • Catalog: Ward’s: Catalog for Geology and the Earth Sciences 1964. See page 103 for the Dr. F. Krantz pearwood models This catalog dates from near but before the time that I bought the models. • Book: Josef Albers, Despite Straight Lines (New Haven: Yale University Press, 1961). [inscribed by author] 9 x 8 3/8 inches I had two copies of this in Pittsburgh, both of which were destroyed by water leaking through my library wall. This copy, signed by Albers [A. 1961] for John McHale, was given to me some years ago by Magda McHale. As a senior student, John McHale had taken Albers’s Interaction of Color Course at Yale; Magda McHale sat in. • Book (soft cover): Hans Gugelot, “design ist gar nicht lehrbar ...,” (Ulm: Stadtarchiv Ulm/HfG- Archiv, 1990), 11 x 7 3/4 inches A posthumous publication put out by the HfG-Archiv • Book: Freundschaft und Begegnung: Erinnerungen an Otl Aicher, edited by Fred Hochstrasser, Renate Kirchner, Hermann Ay (Ulm: Süddeutsch Verlagsgesellschaft, 1997), 11 x 7 7/8 inches Remembrances of Otl Aicher. Short sketch by W. S. Huff, pp. 36-37 • Journal: “Il contributo della scuola di Ulm / The Legacy of the School of Ulm,” 19 Rassegna (Milan, September 1984)