William S. Huff Papers

MS 139.2

University Archives State University of New York at Buffalo

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 Compilations of First Year Architectural Design assignments—1975-1986: On the whole, the examples of the solutions to the assignments are not identified in regard to the students who executed them or the instructor under whom the students did their tasks: This is poor pedagogic practice. In some instances, the students’ names and even the instructors’ names appear on the reproduced drawings. On the whole, these compilations were made by the team’s coordinator, with little input, if any at all, from the other instructors—often during the summer recesses. The assignments were usually devised and written by individual team instructors—usually with the input and/or approval of other members of the teaching team. The names of the authors on some of the assignments’ statements do not indicate that they were the critics behind the examples that are reproduced along with those statements. • Compilation of problem statements and students’ designs: First Year Design 1975/1976; Czajka, coordinator; Kamages; Houriahan; Steiglitz. • Compilation of problem statements and students’ designs: First Year Design 1976/1977; Czajka, coordinator; Barbasch; Huff; Kleinman. • Compilation of problem statements and students’ designs: First Year Design 1977/1978; Czajka, coordinator; Huff; Kleinman; Sadao; Loftness . • Compilation of problem statements and students’ designs: First Year Design 1978/1979; Czajka, coordinator; Downing; Hamilton; Huff; Loftness . • Compilation of problem statements and students’ designs: First Year Design 1979/1980; Malo, coordinator; Downing; Hamilton; Huff. The first of a series of classic assignments, Building Analysis (Malo), that were originated over the next half decade, was introduced this year. Compilation of problem statements and students’ designs: Architecture Studio 1-2: ’80-‘82; Malo, coordinator; Cordts; Downing; Huff (also Fearing and Hamilton). Most of the rest of the classic assignments for this period were introduced at this time: Activity Studies (Downing); Space Boundaries—Carving (Malo) and Space Boundaries—Casting (Malo/ Cordts); Ordering Principles (Cordts); Structure (construction/joining and lateral stability in wood)—The Path and the Place (Huff); Experiments with Daylight (team); Toy—with shop log (Cordts); Toy Shop—using shop log, in concrete block (Cordts). These classic assignments were meant to address 5 major aspects of architectural design, and these 5 aspects were targeted so that at least one problem in each aspect was assigned during the First Year: (1) Anthropometrics and Ergonomics—the body’s relation to itself and to space; (2) Formal or Syntactic Studies— abstract composition; (3) Construction—joining materials and stability; (4) Passive Environmental Control— natural light, acoustics, air flow; (5) Context—urban setting and non-urban landscapes. • Compilation of problem statements and students’ designs: Order Structure Architecture n.d. [1982- 1985]; Malo, coordinator; Cordts; Huff, Schneekloth (also others). William S. Huff Papers MS 139.2 page 2

(Cordts left the program at the end of Fall 1982 and left the school at the end of Spring 1987.)

Box 2 • Compilation of students’ analytic works: Architecture: Building Analysis—First Year Studio—Spring 1983; Malo, coordinator; Brill; Houston; Huff; Shibley; Schneekloth. (Malo left the program at the end of Spring 1985 and left the school at the end of Spring 1986; Huff left the program at the end of Spring 1985 and retired at the end of Spring 1998.) • Compilation of problem statements and students’ designs: First Year Design Studio: 85-86; Schneekloth, coordinator; Barnes; Houston; Jacobsen. (Most of the classic assignments of the Cordts, Downing, Huff, Malo era were carried over by this new team; however, the original intents of these assignments tended to be lost or eroded.) • [catalog] Friedrich Vordemberge-Gildewart: First American Exhibition, Richard Feigen Gallery, Chicago, Sept. 16-Oct. 30 [1971] • Annual strip calendar, 2009 [in box designed for shipping], designed by Hans (Nick) Roericht • [essay] Richard Cordts, Coterminous, designed by Hans (Nick) Roericht Collection of images of Architectural Assemblages and comments by Richard Cordts, one of the most original design teacher in the Department of Architecture in the 1980. Cordts studied at Cooper Union and was acknowledged as one of the best students of John Hejduk. • Post card announcement. ARTSPACE: Two views of architecture. March 8-April 6, 1986. Top architectural minature by Richard Cordts; bottom plan by WSH • All-departmental, all day sketch problem • Memoranda to faculty (Sept. 21, 1980 and Sept. 26, 1980) • Instructions • Photographs of all-day school event • Slides (four sheets), all architecture department, all day collaborative project, organized by Cordts, Malo and Huff. • Folder of letters and different versions of a lecture: A[rthur] J. C. Wilson to wsh, 22 ix 1993; 7 vii 1993; 30 ix 1994. Lecture by A. J. C. Wilson: “Crystals and Wallpaper.” One thesis student, Pamela McCracken, was developing a thesis with me on the subject of the 17 repeating wallpaper patterns. There was one facet of the problem, regarding the problem’s regulating definition that general, interdisciplinary texts did not cover and that was, therefore, left as a seeming contradictory point. McCracken’s thesis meant to correct this shortcoming (whose clarification I discovered in one 19th century scientific text, translated coincidentally by UB’s David Harker and wife). McCracken had an especial facility for visual language, especially diagrammatic—and she addressed thoroughly and masterfully the dilemma that was the focus of her thesis. She had, however, difficulty expressing herself verbally. As a result, I began writing some letters of inquiry for her—taking care to keep a proper distance from the execution of the thesis itself. I had engaged a number of outstanding people, who were either crystallographers or were otherwise experts in crystallography, as consultants and advisors. Papers from the important contemporary crystallographer A. J. C. Wilson are in this file. There was a redundancy of different copies of the same Wilson lecture, so I discarded the earliest version with unreadable passages due the quality of the copy. This thesis was of such interest, that it was scheduled for publication. However, McCracken’s husband entered the scene at the end; and he maneuvered for a colleague of his, who was on the UB faculty, to be put onto the thesis committee. In McCracken’s final version, she introduced an extensive feature that she and I had never considered for inclusion and that was, in fact, antithetical to the whole point of the thesis. This action may attest to her not comprehending the worth of what she had done. She could not be persuaded to delete this extraneous and contradictory material, for she had jumped the gun on having the thesis printed and bound. Therefore, I signed her off on her thesis requirement (due to her excellent graphic exposition), but I refused to attach my signature to the printed copies. The plan to publish it was dropped • Article in Journal: Herbert A. Simons, “Understanding Creativity,” Carnegie Review (No 2, 1964- 1965), [8 pages]. William S. Huff Papers MS 139.2 page 3

Herbert Simon was a Nobel Lauriat in Economic. That aside, he was one of the innovators of artificial intelligence (AI). This article on creativity is an important statement of his along those lines

• A return to Memphis : the art of Samuel Hester Crone (1858-1913) : September 6-November 8, 1997. o Also in this folder: The Part of Sarah in the Art of Samuel Crone. William S. Huff, 2015 • Papers of the American Association of Architectural Bibliographers. Vols. 1 (1965), 2 (1966), 3 (1966), 12 (1977)

Box 3 • Sketch model: Wayside Market, Wood Construction Problem, First Year Architecture Design Studio, attributed to Ricardo Santos and instructor W. S. Huff, Fall 1983. The final design is recorded in Order Structure Architecture n.d. [1982-1985]: This is a smart, deceptively simple solution in regard to the establishment of stability through triangulation—other than in the mode of Bucky Fullerism. Pinning the structure to the ground completes the triangulation that is otherwise achieved through the wood members. (The wood members were not engineered—only intuitively sized in this sketch model.) The student did not sign his work; his identity is deduced from records of W. Huff.

Box 4 Full size prototype: Wood Toy, Toy Problem, First Year Architecture Design Studio, anonymous, instructor unknown, Spring 1982 (or Spring 1981). Babushka wood blocks, shown on cover of Architecture Studio 1-2: ’80-‘82: Through the logic of the construction, the object begins

Box 5 Perspecta: the Yale architectural journal, no. 1-10 Box 6 Perspecta: the Yale architectural journal, no. 11-15 Box 7 Perspecta: the Yale architectural journal, no. 16-19 Box 8 Perspecta: the Yale architectural journal, no. 20-23

Box 9 Oppositions: a journal for ideas and criticism in architecture, no. 1-8 Box 10 Oppoitions: a journal for ideas and criticism in architecture, no. 9-15/16 Box 11 Oppositions: a journal for ideas and criticism in architecture, no. 17-26

Box 12 First Year Architecture, Department of Architecture, University at Buffalo—Fall 1975—Fall 1987 Course Records—Project Assignments, Student Lists, and Misc. Comments First Year Architecture. ARC 381, “Introduction to Design” Kamages (coordinator), Huff, Luebkeman, Nowak, Dale

Fall 1975 William S. Huff Papers MS 139.2 page 4

First Year Architecture. ARC 382, “Introduction to Industrialized Design” (theme influenced by Gunter Schmitz) Kamages (coordinator), Dale, Hirsch, Huff, Luebkeman, Nowak

Spring 1976 First Year Architecture. ARC 381, “Introduction to Design” with comments by Czajka and Huff Czajka (coordinator), Huff, Kleinman, Barbasch

Fall 1976 First Year Architecture. ARC 382, “Industrialized Building Design” (theme influenced by Gunter Schmitz) Czajka (coordinator), Huff, Kleinman, Barbasch

Spring 1977 First Year Architecture. ARC 381/511, “Design Studio 1” listing of all architecture studios Czajka (coordinator), Huff, Kleinman, Sadao

Fall 1977 First Year Architecture. ARC 302/502, “Design Studio 2” Czajka (coordinator), Huff, Kleinman, Loftness

Spring 1978 First Year Architecture. ARC 301/501, “Design Studio 1” with Course Information. Czajka (coordinator), Downing, Hamilton, Huff

Fall 1978 First Year Architecture. ARC 302/502, “Design Studio 2” with Course Description Czajka (coordinator), Downing, Hamilton, Huff

Spring 1979 First Year Architecture. ARC 301/501, “Design Studio 1” Assignment: September 27; sketch exercise was probably written by Downing and revised the next year Malo (coordinator), Downing, Hamilton, Huff

Fall 1979 First Year Architecture ARC 302/502 “Design Studio 2” Malo (coordinator), Downing, Hamilton, Huff

Spring 1980 First Year Architecture ARC 301/501, “Design Studio 1” with comments by Huff Action Studies by Downing. Space Boundaries: Cave and Tree House by Malo Formal Organization by Cordts. Structure: the Path and the Place by Huff Malo (coordinator), Cordts, Downing, Huff

Fall 1980 First Year Architecture. ARC 302/502, “Design Studio 2” only schedule Light in Architecture (probably first time)—[later Experiments with Daylight—S83] Malo (coordinator), Cordts, Downing, Fearing Huff on Sabbatical Spring 1981 First Year Architecture ARC 301/501 History of Structure Assignment, given first as a Pergola and a Gazebo, later as a Wayside Market William S. Huff Papers MS 139.2 page 5

authored by William Huff First Year Architecture ARC 301/501, “Design Studio 1” Malo (coordinator), Cordts, Hamilton, Huff Fall 1981 First Year Architecture ARC 302/502, “Design Studio 2” with comments by Huff [Treatment of] Color by Huff Building Analysis (probably first time) Toy and Toy Factory by Cordts (probably first time) visit of James Wines, March 9-17 Malo (coordinator), Cordts, Hamilton, Huff Spring 1982 • First Year Architecture ARC 301/501, “Design Studio 1” Malo (coordinator), Cordts, Hamilton, Huff, Schneekloth Fall 1982 • First Year Architecture ARC 302/502, “Design Studio 2” Malo (coordinator), Houston, Huff, Schneekloth, Brill/Shibley Spring 1983 • First Year Architecture ARC 301/501, “Design Studio 1” with Course Information Malo (coordinator), Houston, Huff, Schneekloth Fall 1983 • First Year Architecture ARC 302/502, “Design Studio 2” Malo (coordinator), Houston, Huff, Schneekloth Spring 1984 • Review of the First Year Architecture curriculum, in regard to the Accreditation visit, Spring(?) 1984 by William Huff

Though First Year Architecture under Malo, Downing, Cordts, and Huff was often cited at one of the best (in fact, the best) studios in the Department, including the commendation of the visiting Accrediting Committee, it was continually undermined, not so much with the express intent to undermine it, but due to political assignments of certain faculty members who filled vacant slots and covered weaknesses with ill-advised demands. The inclusion of the shared slot in Spring 1983 of Brill/Shibley (the most senior faculty member and the Chair) was, to be frank, a sort of spying— it was not a behavior of benign observation. The Chair’s partner, Schneekloth, had no training in architecture and insisted on making siting the penultimate issue to address.

William S. Huff Papers MS 139.2 page 6

• First Year Architecture ARC 301/501, “Design Studio 1” with comment by Huff Malo (coordinator), Hamilton, Houston, Huff, Ott, Schneekloth Fall 1984 • First Year Architecture ARC 302/502, “Design Studio 2” Malo (coordinator), Houston, Regan, Schneekloth Spring 1985

First Cordts was denied tenure, then Malo. And the quality of the First Year Studio was already in decline. Furthermore, the First Year was then given to Schneekloth to coordinate; I was not asked to fill that post. In fact, I would not have wanted it and would have declined, but I should have been asked. Therefore, I asked to conduct a Graduate Studio in Fall 1985. By the end of the first term, our studio had produced an extensive report on recent “experimental schools of design.” Chairman Shibley was a little dismayed that no building came out of this studio; but I thought that the extent of the report (research and program) was a creditable product of that studio. Buildings were designed by most of the same students during the Spring 1986 term

During the Summer of 1986, I requested a move to the Second Year, which was customarily a studio in crisis in many a schools across the land. I wanted the challenge of working in this awkward year—principally playing the part of an observer.

• Graduate Level Architecture ARC 607, “Upper Level Design Studio” “An Experimental School of Design”—making a report and writing a program with Presentation Schedule Huff Fall 1985 • Graduate Level Architecture ARC 606, “Upper Level Design Studio” “An Experimental School of Design”—design of building with “Notes for the Manifesto of a New Functionalism” by Martin Krampen Huff Spring 1986

• Three examples of the Building Analysis Assignment Everson Museum Toronto Metropolitan Police Station Metropolitan Toronto Library Inexplicably, none of these are dated, but a search of the attached files can establish dates..

William S. Huff Papers MS 139.2 page 7

• Second Year Architecture ARC 403/503, “Second Year Studio” with comment by Huff (wanting to be an “observer”) Ernst (coordinator), Day, Feuerstein, Huff, Lownie, Shubert Fall 1986 • Second Year Architecture ARC 404/504, “Second Year Studio” Ernst (coordinator), Day, Feuerstein, Huff, Lownie Spring 1987

• Second Year Architecture ARC 403/503, “Second Year Studio” Chi (coordinator?), Huff, Lownie, Nan Fall 1987 • Second Year Architecture ARC 403/503, “Second Year Studio” Chi (coordinator?), Huff, Lownie, Nan Spring 1988 There does not seem to be a complete portfolio on the Second Year Studio, Spring 1988.

• Second Year Architecture Folder of memoranda from April 1987 to March 1988 discussions, suggestions, comments about the Second Year curriculum These papers seem to indicate that there was a change of faculty during the summer of 1987 for the Fall of 1987 with Ti-nan Chi replacing Mark Ernst as coordinator.

After this period, I began giving a Graduate Design Studio in Basic Design. There was much resistance to this—and, for sure, no support. My argument did have the support (internationally) of the leading advocates of the well tested discipline of Basic Design. Many memoranda address this problem

In short the arguments were these: (1) Basic Design should not merely be considered a horizontal course, to be given as a prerequisite to architecture; but it should be conducted vertically, given and taken at any or all levels of a curriculum in architectural design. (2) Because of the overall structure of the Architectural curriculum, I was finding more and more that students, who came into the First Year Architecture course, had not taken my Basic Design Course, but alternative courses. Therefore, I wanted my course to be offered at the Graduate level—to be taken completely voluntarily by students who appreciated the discipline’s unique worth.

Box 13 • Two Volume Document: “Book One: The Background: Programming for a New Experimental School of Design,” Section 1 and Section 1 from Graduate Studio, William S. Huff Fall 1985

Box 14 • Posterlike format for Design Project 1966 (2 sheets). • Poster of Max Bill Exhibition, Albright-Knox Gallery, Buffalo, NY, 1974, • William S. Huff Homonym, Homonym, Homonym William S. Huff Papers MS 139.2 page 8

Part 1: Essay Part 2: Lists

Box 15 Poster: "Two Views of Architecture: Cordts Huff,” ArtSpace, Buffalo, March 8 – April 6, 1986.

Post card version of poster

Box 16 THIS BOX IS CLOSED FOR 40 YEARS—2052

Box 17 Folder 1: Posters and Fliers designed by Gunter Schmitz Flyer: • Flier—Course Advertisement: designed by Gunter Schmitz, ““ARC 493/593: 3 credits…Special Topics: Basic Design, William S. Huff, Association Professor” (with image of parquet deformation, Scott Grady), School of Architecture and Environmental Design, SUNY at Buffalo, Summer Course: 16 Jul–3 Aug 79 • Poster: designed by Gunter Schmitz, “two lectures by Douglas Hofstadter, (with image of parquet deformation, “Venetian Net,” Maurizio Sabini), School of Architecture and Environmental Design, SUNY at Buffalo, NY, [10 Feb. 1983] • Poster (large): designed by Gunter Schmitz, an exhibition in two parts: “geometrizing and perceptualizing: products of basic design; work by students of William S. Huff,” (with no image), section one: School of Architecture and Environmental Design, Hayes Hall Main Campus, SUNY at Buffalo, 14 April-12 May [1978]; section two: Les Copains Art Gallery, 14-30 April-13 May [1978]. 2 copies • Flier: designed by Gunter Schmitz, an exhibition in two parts: “geometrizing and perceptualizing: products of basic design; work by students of William S. Huff,” (with no image), section one: School of Architecture and Environmental Design, Hayes Hall Main Campus, SUNY at Buffalo, 14 April-12 May [1978]; section two: Les Copains Art Gallery, 14-30 April [1978] • Poster: designed by Gunter Schmitz, “Geometrizing, Perceptualizing, Exercizing: an exhibition from the archive of students of William S. Huff,” (with image of parquet deformation “Venetian Net,” Maurizio Sabini), Capen Gallery, Capen Hall, SUNY/Buffalo, NY, Feb. 14 – March 28, 1985 “Exercising” is intentionally misspelled because of the two other words. • Poster: designed by Gunter Schmitz, “Products of Basic Design.” 14 x 14” • Poster: designed by Gunter Schmitz, “Machado Silvetti” 17 x 17” • Poster: designed by Gunter Schmitz, “A view of the grotto of the Fountain House – 1975 by Rodolpho Machado and Jorge Silvetti” 17 x 17” • Flier (folded): designed by Gunter Schmitz, “Machado Silvetti” 8 ½ x 8 ½“ • Poster: designed by Gunter Schmitz, “Summer Workshop Architecture SUNY at Buffalo 1981” 17 x 17” • Poster: designed by Gunter Schmitz, “Houses and Housing: Fall ’81 Lectures William S. Huff Papers MS 139.2 page 9

• Poster: designed by Gunter Schmitz, “Fall ’76 Lecture Series: A Search for Quality” 17 x 17” • Poster: designed by Gunter Schmitz, “Architecture SUNY Buffalo” 17 x 22” • Flier: designed by Gunter Schmitz, “M. Arch. Advanced Building Technology SUNY at Buffalo” 14 x 8 ½“

Folder 2: Posters and flyers designed by Willi Kunz, Nick Chaparos, Richard Cordts and anonymous

• Poster: designed by Willi Kunz, “William S. Huff: Products of Pedagogic Processes,” (with images of Parquet Deformation, Peter Silson; Single Element Raster, Gerald Weisman; Conflicting Depth Cues, John Hegnes), Hopkins Hall Gallery, Ohio State University, Columbus, Ohio, [15-26 October 1974] 2 copies Willi Kunz, a born Swiss, was a student at Ohio State, who was already recognized as having great promise, when he designed this poster. Today, he is recognized as a leading international graphic designer. • Poster: designed by anonymous, “Geometrizing and Perceptualizing: an exhibition from the archives of students of William Huff,” (with image of parquet deformation, Biased from Plain to Peaks, James Mason), Gund Hall, Graduate School of Design, Harvard University, Cambridge, Mass., 16–27 October 1978 2 copies • Invitation to exhibition: designed by anonymous, “New Uses of Composition – including the Exhibition ‘Products of Basic Design by students of Associate Professor William S. Huff,’” (with image of parquet deformation, Peter Silson), Les Copains Art Ltd, 14-13 April [1978] Invitation not found in folder, February 2015 • Poster—Lecture: designed by anonymous, “Geometrizing Exercizing Perceptualizing: archive exhibit students of William S. Huff” (with image of Programmed Design, Clockwise or Otherwise Count, Frank Dunn), Capen Gallerey, Capen Hall, UB Amherst Campus, SUNY at Buffalo, [Thursday, 1978] Poster not found in folder, February 2015 “Exercising” is intentionally misspelled because of the two other words. • Poster: designed by Nick Chaparos, “Geometrizing, Perceptualizing, Exercizing: an exhibition from the archive of students of William S. Huff,” (with image of figure-ground figure without ground, Albrecht Hufnagel), Tangeman Fine Arts Gallery, School of Design, University of Cincinnati, Cincinnati, Ohio, Oct. 27 – Nov. 22, 1985 “Exercising” is intentionally misspelled because of the two other words. • Poster—Lecture: designed by Nick Chaparos, “Tomas Maldonado, University of Milan ... an assessment of the ‘Modern’ and its relevance to the future ...,” DAAP, University of Cincinnati, Cincinnati Ohio, April 27, [1989] Poster not found in folder, February 2015 • Flyer: “DAAP Lecture Series presents: Tomas Maldonado, University of Milan” [19--] • Flyer: “Geometrizing, Perceptualizing, Exercizing: archive exhibit, the students of William Huff” with image of parquet deformation Capen Gallery, Capen Hall, UB Amherst Campus [1985] • Invitation: “New Uses of Composition”, including the Exhibition “Products of Basic Design by students of Associate Professor William S. Huff, School of Architecture and Environmental Design SUNY at Buffalo.” Les Copains Art Ltd. 13-30 April [19--] William S. Huff Papers MS 139.2 page 10

• Flyer: designed by anonymous, “Basic Design in Education/The Syntactic Aspect of Design Education” by William Steiner Huff. School of Architecture, Florida A&M University, March 10, 1976 • Poster: designed by Richard Cordts, “Artspace: Two Views of Architecture Cordts Huff, 8 March – 6 April, 1986. 2 copies

Box 18

Memoriam: Prof. Atilla Bilgvtay (Professor of Structural Engineering, Dept. of Architecture)

Correspondence with Museum of Modern Art and Rizzoli’s about Ambasz’s Appropriation of Richard Lanes Parquet Deformation Crossover—1989 Prolog: In November 1979, I attended an ASCA Congress at Carnegie-Mellon University. On a walk between the congress and the School of Fine Arts, two fellows (who may not have been former students but in C-M U’s Department of Architecture) coming from the opposite direction greeted me; one asked: “Did you see the latest issue of Domus?” To my “No,” he continued that there is an article about Emilio Ambasz winning a competition with a design “that looks something like the parquet deformations that students did in your class.” I immediately turned around and headed for the Hunt Library, where I found the September 1979 Domus 598 in the display of the current periodicals. I quickly found in that journal Ambasz’s award-winning design based line by line, angle by angle, on Richard Lane’s deformation, to which I had given the title Crossover. At the same time, I saw no reference to Lane’s authorship of the design. When I again saw the fellows from earlier, I said that I had seen the Domus and told the one fellow that he was wrong: “The design was not like one of my students’ parquet designs; it was precisely one of my student’s designs.” Ambasz had championed my teaching in basic design a decade earlier—even moving to have the Museum of Modern Art acquire a collection of 45 of my students’ basic design plates for MoMA’s Study Collection (1972). This turn of events, however, verged on being illicit. Would Ambasz not have won the competition, if the basic intricate design had been identified as the inspiration of someone else’s? Lane’s design had first been published in ulm 12/13 (March 1965), page 28, a publication that Ambasz, with no doubt at all, knew. At the same time, because of his previous vigorous support, I did not want to make an inflaming commotion; but I did not think that it should go unnoted either. I decided to write a terse letter to only Ambasz in which the only words of the message were “Congratulations, we won” or perhaps only “We won.” Ambasz did not respond. [note to wsh: look for this file.] After the exhibiting of this design at MoMA in 1989, with no corrective credit line, this became a different matter—especially when at the end of the MoMA catalog the following was stated: “Emilio Ambasz would like to credit the following individuals.”

• **Letter, copy: William S. Huff (wsh) to Stuart Wrede, Director, Department of Architecture and Design, Museum of Modern Art (MoMA), 8 iii 89 To Wrede, Director: “I was in MoMA yesterday, 7 March, and saw the Emilio Ambasz exhibit. Prominently displayed up front was the project: Pro Memoria Garden Ludenhaused, W. Germany, 1978.” I ask that a redited line be added to the project. • Memorandum: “Huff’s Studio Work on Display in MoMA,” wsh to Katharine Kubala, editor of school in-house newsletter, 10 iii 89 An ironic report. In this memo I cite Casabella instead of Domus, which error I compound until I take notice in a letter of 5 April. • Letter, copy: wsh to Gene Schuler, SUNY’s Technical Transfer Office, Research Foundation, Albany, NY, 10 iii 89 (2 pp) A more serious exploration of the Ambasz/MoMA impropriety. I mistake Schuler for a woman. William S. Huff Papers MS 139.2 page 11

• Magazine clipping: Eugene K. Schuler, “Safeguarding University Licenses,” from a SUNY publication, [n.d.]

• Letter, copy: wsh to Paul Goldberger, Architecture Editor, New York Times, NYC Technic, NY, 14 iii 89 I challenge Goldberger’s statements: “The work of these architects is too original, [and too good, to be bound by stylistic labels.] ... [Emilio Ambasz ... can appropriately be described as possessing] one of he most versatile design minds of our age. ... Mr. Ambasz is consistently inventive ...” • Letter, copy: wsh to Rizzoli International Publications, NYC, 15 iii 89 “Proper credit is not given for the origin of this design.” • Letter, copy: wsh to Richard Lane, Pittsburgh, Pa., 15 iii 89

• **Letter: Jane Opper, Managing Editor, Rizzoli International Publications, NYC, to wsh, 3 iv 89 “In the next printing we will certainly make the correction.” I do not know if this happened. • Letter, copy: wsh to attn: Jane Opper, Managing Editor, Rizzoli International Publications, NYC, 5 iv 89 I correct my citing Casabella in the place of Domus. • **Letter: Stuart Wrede, Director, Department of Architecture and Design, Museum of Modern Art (MoMA), to William S. Huff (wsh), 12 vii 89 “Your best course of action would be to take up the issue with Emilio Ambasz himself.”

Publications (mostly xeroxed copies) relating to Emilio Ambasz’s Appropriation of Richard Lane’s Parquet Deformation Crossover—Its Publication and Exhibition—1965/1979/1989 • **Journal, xerox copy: William S. Huff, “An Argument for Basic Design,” ulm 12/13, March 1965 (See page 28) First publication of Richard Lane’s parquet deformation. The orientation of this design was reversed (by 180°) in the publication. This is the same reversed orientation was used by Ambasz. • Publication, xerox copy: William S. Huff, “An Argument for Basic Design,” Design and Planning, ed. Martin Krampen (University of Waterloo: Waterloo, Ontario, 1965) (See page 74) A immediate follow-up publication.

• **Journal, xerox copy:, “Concorso pro Memoria in Germania: Project for a Garden as a Reminder of War’s Evils,” Domus 598, September 1979 (See page 41) Award winning design. for Ludenhausen, Germany. No credit to parquet deformation designer Lane. • **Journal, xerox copy:, Douglas Hofstadter, “Metamagical Themas: Parquet deformations: patterns of tiles that shift gradually in one dimension,” Scientific American 249, July 1983 (See page 15) I gave the name of” Crossover” to Lane’s deformation at this time. • Exhibition Catalog (xerox copy): Emilio Ambasz Steven Holl, Museum of Modern Art, 1989 (See page 5) Aside form thickening Lane’s ink lines into hedges and using the reverse orientation, the significant addition is two lollypop trees at entrance end of the garden. See Ambasz’s acknowledgements at the end of the catalog, which gives no acknowledgement to Lane or the Huff basic design studio. William S. Huff Papers MS 139.2 page 12

• Newsletter Announcement: “Holl and Ambasz in Show at MOMA,” Newsletter, Columbia Architecture Planning and Preservation, NYC, February 1989). p. 7 “Exhibition opening on February 9 and running until April 4.”. • Newspaper Review (xerox copy): Paul Goldberger, “Two Architects Who Tap Into Our Deepest Moods,” New York Times, 12 ii 1989, pp. 32/44

Not included: Emilio Ambasz, The Poetics of the Pragmatic, Rizzoli, 1988

Acquisition by MMA of 45 Students’ Plates—1972 (Key documents are inventoried; some are not.) • Letter: William C. Seitz, Associate Curator, Museum of Modern Art (MMA), to William S. Huff (wsh), 2 ix 64 Thanking me for material from Basic Design course in connection with The Thinking Eye exhibition and mention of the work by painter Piero Dorazio. I do not know what material I sent, but it may have been slides from my Raster assignment. • Letter, carbon copy: wsh to William C. Seitz, Associate Curator, MMA, 5 ix 64 Mention of color experiments and of HfG, Ulm. • Letter: Emilio Ambasz, Associate Curator of Design, MMA, to wsh, 4 iv 69 “I would greatly appreciate it if you would make available to us the material that composes the exhibition of your students basic design works, presently shown at Frick fine Arts Building. ... towards possible inclusion in one of our collections.” Ambasz, an Argentinean, had studied at Princeton and had arranged a guest professorship there for Tomás Maldonado Through this connection, he knew about my work. At the time of this letter, I was not ready to part with this collection of around 100 pieces. Prior to this letter, I had recommended Ambasz for the Chairmanship of Architecture at Carnegie-Mellon University, following the retirement of Paul Schweikher. This became a political tussle with Delbert Highlands who occupied the position in 1969. • Telegram: W. Leathers, Professor, University of Manitoba, Winnipeg, to wsh, 21 xi 69 “Exhibition packed and shipped to Ameilia [sic] Ambasz.” Emilio arranged for me to have an exhibition of my work at Manitoba. The exhibition included 45 original designs and photographic material. Again Ambasz requested that the originals be sent to MMA for acquisition, and I agreed. • Letter (handwritten), xerox: wsh to Emilio Ambasz, Associate Curator of Design, MMA, 3 xii 69 Trying to fix a value on each design. • **Receipt: Lanier Grahm, Architecture and Design, MMA, to wsh, 9 xii 69 “45 various pen, inck [sic], color drawings or plates of basic design” at “$1,000 each.”

• Letter, carbon copy: wsh to Profs. Gordon Adaskin and Winston Leathers, Department of Environmental Studies, University of Manitoba, 16 xii 69 I viewed the 45 plates at MoMA on 15 Dec. Some were damaged; one by Vannicola was torn (but not though the design). “Emilio Ambasz assures me of precision handling at the Museum.” • Inventory, carbon copy: 45 plates; wsh to Emilio Ambasz, Associate Curator of Design, MMA, 19 xii 69 (3 pp) I viewed the 45 plates at MoMA on 15 Dec. Some were damaged; one by Vannicola was torn (but not though the design). “Emilio Ambasz assures me of precision handling at the Museum.” • **Letter: Emilio Ambasz, Associate Curator of Design, MMA, to Faculty of Carnegie-Mellon University, 23 iii 70 (2 pp) This seems to have been an indirect, rather than direct, letter of support regarding my tenure review at Carnegie-Mellon. • Letter (personal attachment), carbon copy: wsh to Emilio Ambasz, Associate Curator of Design, MMA, 26 iv 69 William S. Huff Papers MS 139.2 page 13

“Delbert [Highlands] seems destined for Dean Rice’s replacement.” • **Letter: John Garrigan, Assistant Curator of Design, MMA, to wsh, 4 v 71 “The collection of 45 plates is presently in the Department Study Collection. ... They will be proposed for the Permanent collection at our acquisitions meeting in the Fall.” • **Letter: John Garrigan, Assistant Curator of Design, MMA, to wsh, 16 vii 71 “The 3 plates were sent to you today”—for photo-copying. • Postal receipt, registered mail certificate: MMA to wsh, (postmarked) 30 vii 71 Loan from MMA of three designs—Silson, two; Hufnagel, one—for purpose of photographing. • Postal receipt, registered mail receipt: wsh to MMA, (postmarked) 2 viii 71 Return to MMA of three designs—Silson, two; Hufnagel, one—for purpose of photographing. • Letter, carbon copy: wsh to John Garrigan, Assistant Curator of Design, MMA, 31 vii 71 Plates returned on this date. • **Letter (blood stained): John Garrigan, Assistant Curator of Design, MMA, to wsh, 14 xii 72 “Regarding the 45 design plates which you donated to the collection, they are n the Department Study Collection.” I cut my finger on paper and bled on the document. • Letter, xerox copy (with blood stains): John Garrigan, Assistant Curator of Design, MMA, to wsh, 14 xii 72 “Regarding the 45 design plates which you donated to the collection, they are n the Department Study Collection.” I cut my finger on paper and bled on the document. • Letter, xerox copy (without blood stains): John Garrigan, Assistant Curator of Design, MMA, to wsh, 14 xii 72 Perhaps this was a copy from MMA’s files. • **Letter: John Garrigan, Assistant Curator of Design, MMA, to wsh, 15 xii 72 A replacement, dated differently, for the blood stained original. • Letter, edited carbon copy: wsh to John Garrigan and Emilio Ambasz, MMA, 5 i 73 Regarding some students’ designs: “Through. the right combinations, we can turn secondary colors into primaries.” I am planning to send 200 more student plates to MMA. In the end, I did not send them. • Letter, carbon copy: wsh to John Garrigan, Assistant Curator of Design, MMA, 5 v 73 • Letter: Arthur Drexler, Director, Architecture and Design, MMA, to wsh, 26 viii 74 • Letter: Arthur Drexler, Director, Architecture and Design, MoMA, to wsh, 24 vi 81 “I think we should confine ourselves to the forty-five we already have. ... When our new wing is completed in 1982/83 ... we will then finally be able to exhibit the drawings you gave us in 1959” • Inventory: extensive collection of students’ plate from Basic Design Studio of William S. Huff, prepared for Emilio Ambasz, Associate Curator of Design, MMA, by wsh, 12 v 70 (20 pp)

Return Loan by MoMA of 44 Students’ Plates (1 Lost) to Huff for Affixing Identification and Final Formatting—1988 William S. Huff Papers MS 139.2 page 14

(Key documents are inventoried; some are not.) MoMA’s handling of these plates at this time is the last time that MoMA has a record of their being in hand.

• Letter: Stuart Wrede, Acting Director, Architecture and Design, MoMA, to wsh, 6 vi 87 Wrede properly, I am sure, preferred that I added identifying notations to the collection in NYC. “We are hesitant to send the work out of here except in the context of a strictly supervised exhibition.” That care was then.

• **Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 17 vii 87 (3 pp) My argument to do the work in Pittsburgh.

• Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 19 ix 87 Arranging to meet Wrede at MoMA on 16 October.

• **Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 8 xi 87 “The saslient points of our discussion” recently in NYC.

• **Receipt: Patricia Johnson, Registrar, MoMA, to wsh, 2 ii 88 “Return to Mr. Huff for final formatting.” 1-44 (not 45) are recorded, insured at $500 each. • Waybill: “Exhibition Material,” Profit Freight Systems, MoMA to wsh, 5 ii 88 • **Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 17 ii 88 My inventory of the collection, according to MoMA’s penciled numbers on the plates’ backs. I note that one plate by Michael Chow is missing. • Inventory, xerox copy: a second inventory according to MoMA numbers and to final formatting sizes, 14 iii 88 The sizes of the plates were not recorded to the convention of the vertical dimension first and the horizontal dimension second—but rather according to the larger size first and the smaller size second. • Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 25 iii 88 Plates are ready for return. • Letter, xerox copy: wsh to Stuart Wrede, Acting Director, Architecture and Design, MoMA, 25 iii 88 Report on what was done to the collection of plates. • Letter: Patricia Johnson, Sr. Registrar Asst., MoMA, to wsh, 31 vi 88 Instructions for returning collection. “After speaking to Christopher Mount of the Architecture and Design Department regarding eh missing 45th Design, he seemed to think that the two designs on one sheet may have been the confusion.” • Letter, xerox copy: wsh to Patricia Johnson, Sr. Registrar Asst., MoMA, 4 iv 88 “The ‘two designs’ on one sheet have always been considered as one diptych.” • **Waybill: Emery Worldwide, wsh to MoMA, 5 iv 88

• Letter, xerox copy: wsh to Patricia Johnson, Sr. Registrar Asst., MoMA, 10 iv 88 • Letter, xerox copy: wsh to Patricia Johnson, Sr. Registrar Asst., MoMA

William S. Huff Papers MS 139.2 page 15

Discovery (over Six Years) of Loss by MoMA of 44 Students’ Plates—2005-11 (Key documents are inventoried; some are not.) • Email (multiple) printout: Louis Golomb from/to wsh, Nov. 2005 (2 pp) • Louis Golomb to wsh, 8 xi 05 Golomb with contact MoMA, regarding my information. • wsh to Louis Golomb, 7 xi 05 I recount the history of MoMA’s acquisition of the collection. • Louis Golomb to wsh, 7 xi 05 Understanding that MoMA has some of his designs, Golomb wanted to visit MoMA with his family to show them his designs in the Basic Design Collection. However, he “triedcalling and [MoMA]came up with nothing. • Email (multiple) printout: Louis Golomb from/to wsh/Candace Banks, Nov. 2005 (1 p) • Louis Golomb to wsh, 16 xi 05 Forwarding email from Candace Banks.. • Candace Banks, Department Assistent, Architecture and Design, MoMA, to Louis Golomb, 16 xi 05 “I was uable, however, to locate your or Mr. Huff’s collection of drawings in our collection database. ... [A curatorial assistant] ‘informed me that we do in fact have a collection of drawings from Mr. Huff. These drawings ... were never formally acquired into the permanent collection of the Study Center Collection.” • Louis Golomb to Cancace Banks, 10 xi 05 Golonb reports the gist of my recount the history to Candace Banks, MoMA. • Email (multiple) printout: Louis Golomb from/to wsh/Christian Larsen, Nov. 2005 (1 p) • Louis Golomb to wsh, 30 xi 05 This brief message was attached to my earlier email to Christian Larsen • Christian Larsen to wsh, 30 xi 05 “Due to some sloppy cataloging over the years, these studies were never entered into our database, nor were they assigned acquisition numbers ... I will correct these oversights and catalogue the work properly. • Email (multiple) printout: wsh from/to Christian Larsen/Louis Golomb, May 2006 (3 pp) • Christian Larsen to wsh, 4 v 06 “[T]he Department ... is in the midst of reorganizing under a new, as of yet, unknown, chief Curator. ... Ionly ask your patience” • wsh to Christian Larsen, 4 v 06 I check if the plates have been recatalogued. • (repeat) Louis Golomb to wsh, 30 xi 05 This brief message was attached to my earlier email to Christian Larsen • (repeat) Christian Larsen to wsh, 30 xi 05 “Due to some sloppy cataloging over the years, these studies were never entered into our database, nor were they assigned acquisition numbers ... I will correct these oversights and catalogue the work properly.” • (repeat) others

William S. Huff Papers MS 139.2 page 16

• Email (multiple) printout: wsh from/to Paul Galloway, May 2009 (5 pp) • Paul Galloway, Cataloguer, MoMA, to wsh, 14 v 09 “[Y]ou must understand tht I have inherited from my predecessors 30 years worth of uncatalogued works.” • wsh to Paul Galloway, Cataloguer, MoMA, 12 v 09 Some badkground regarding the collection. • Paul Galloway, Cataloguer, MoMA, to wsh, 8 v 09 “In the coming weeks I will try to locate your donated studies, so that if a researcher wishes to come and view them they may do so. I will let you know what I find.” • wsh to Paul Galloway, Cataloguer, MoMA, 8 v 09 I review the case. “Prof. Golomb and I have waited patiently. On one or two occasions, I asked for a progress report, but nothing has been forthcoming.” • (repeat) Christian Larsen to wsh, 30 xi 05 “Due to some sloppy cataloging over the years, these studies were never entered into our database, nor were they assigned acquisition numbers ... I will correct these oversights and catalogue the work properly.” • Email (multiple) printout: wsh from/to Paul Galloway, April 2010 (2 pp) • Paul Galloway, Cataloguer, MoMA, to wsh, 28 iv 10 “I am currently in the process of assemblying an inventory of [nearly 2,000 uncatalogued architectural drawings], and once that process is complete I can begin cataloging them.” • wsh to Paul Galloway, Cataloguer, MoMA, 26 iv 10 “I am hoping these can be finally catalogued into MoMA’s Study Collection.” • Email (multiple) printout: wsh from/to Paul Galloway, May 2011 (3 pp) • Paul Galloway, Cataloguer, MoMA, to wsh, 31 v 11 “There is no update on the cataloging of the Basic Design examples.” • wsh to Paul Galloway, Cataloguer, MoMA, 26 iv 10 “Another year has passed. ... Can you gve me an update on the cataloging of the Basic Design examples?” • (repeat) wsh to Paul Galloway, Cataloguer, MoMA, 26 iv 10 “I am hoping these can be finally catalogued into MoMA’s Study Collection.” • Letter, copy: wsh to Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design. MoMA, 19 vii 11 (3 pp) I propose either (1) that MoMA expedite the correct cataloging of the students’ work or (2) that MoMA send the collection to the HfG-Archiv. • Email (multiple) printout: wsh from/to Barry Bergdoll/Paul Galloway, November 2011 • Paul Galloway, Cataloguer, MoMA, to wsh, 30 xi 11 Bergdoll is out of town. • wsh to Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design, MoMA, 28 xi 11 Bergdoll had sent the HfG-Archiv a congratulatory message for its relocation in the Max Bill building • **Letter, copy: wsh to Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design, MoMA, 29 xi 11 (2 pp) Restatement of my earlier proposal. • **Email printout: Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design, MoMA, to wsh, 12 xii 2011 “Regrettably, his trail goes dead after the correspondence between ou and this department in 1988. ... If you have any photographic record of he works we would be very grateful to receive them.” At this point my mind was not resigned to the collection being irrevocably lost.

William S. Huff Papers MS 139.2 page 17

• Email (multiple) printout: wsh from/to Paul Galloway, December 2011 (3 pp) • Paul Galloway, Study Collection Supervisor, MoMA, to wsh, 12 xii 11 About sending slides. • wsh to Paul Galloway, Study Collection Supervisor, MoMA, 12 xii 11 I thanked him for a clarification. • wsh to Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design, MoMA, 12 xii 11 I thanked him for a clarification over the phone. • (repeat) Email printout: Barry Bergdoll, Philip Johnson Chief Curator of Architecture and Design, MoMA, to wsh, 12 xii 2011 “I am hoping these can be finally catalogued into MoMA’s Study Collection.” • Email (multiple) printout: wsh from/to Paul Galloway, December 2011 (3 pp) • Paul Galloway, Study Collection Supervisor, MoMA, to wsh, 15 xii 11 “I’d be happy to discuss this with you via telephone.” We did talk, and Galloway explained that the TR inventory numbers meant “Temporary Registration.” Until this point, I had thought these were final inventory numbers. • wsh to Paul Galloway, Study Collection Supervisor, MoMA, 15 xii 11 “This is like the third shoe dropping.” I only now realized that the collection was considered to be lost. • Paul Galloway, Study Collection Supervisor, MoMA, to wsh, 15 xii 11 Galloway’s response to my review of several points • wsh to Barry Bergdoll and Paul Galloway, MoMA, 14 xii 11 I thanked him for a clarification over the phone. • Email printout: attachment of earlier letters • Letter: Paul Galloway, Study Collection Supervisor, MoMA, to wsh, 1 ii 12 Enclosed DVD’s with high-resolution scans of my slides of the lost Basic Design plates. • Inventory: revised according to MoMA TR numbers, 22 xii 11 • Inventory: updated comprehensive version for MoMA, [2011] (7 pp) • Correspondence with Students about Acquisition or Publication of Their/Work (No documents are inventoried)

Acquisition (1984) by Albright-Knox Art Gallery of Robert D. Johnson’s Programmed Design from the Basic Design Studio of William S. Huff

• Letter with xerox attachment, carbon copy: William S. Huff (wsh) to Douglas G. Schultz, Director, Albright-Knox Art Gallery, 29 ii 84 Offer of Basic Design plates to Albright-Knox Gallery.

• Xerox attachment with letter to Douglas Schultz: Inventory for A-K Gallery, work from Basic Design Studio of William Huff, 29 ii 84 Selection of 16 Basic Design Plates.

• Xerox attachment with letter to Douglas Schultz: Explanation of Symmetry or Programmed Design project conducted in Basic Design Studio of William Huff (4 pp)

• Receipt of Objects: Portfolio of 16 [18 DGS] drawings, signed Douglas G. Schultz; Albright- Knox Art Gallery, Buffalo, NY, 7 iii 84

William S. Huff Papers MS 139.2 page 18

• Letter: Douglas G. Schultz, Director, Albright-Knox Gallery, Buffalo, NY to wsh, 20 vii 84 Director Shultz chooses Robert D. Johnson’s 1979 plate for Symmetry project for the Albright-Knox Gallery collection.

• Letter: Sarah Ulen, Registrar, Albright-Knox Gallery, Buffalo, NY to wsh, 25 vii 84

• Letter, carbon copy: wsh to Douglas G. Schultz, Director, Albright-Knox Art Gallery, 2 viii 84 (2 pp) About the attribution of the donated student design.

• Letter, carbon copy: wsh to Sarah Ulen, Registrar, Albright-Knox Art Gallery, 6 viii 84 More about the attribution of the donated student design.

• Letter: Rita Swick, [secretary], Department of Architecture, University at Buffalo, Buffalo, NY to wsh, 10 viii 84 Information about Robert D. Johnson.

• Letter, carbon copy: wsh to Sarah Ulen, Registrar, Albright-Knox Art Gallery, 22 viii 84

• Receipt of Objects: Programmed Design by Robert C. Johnson [and William S. Huff], 1979, signed Sarah Henderson; Albright-Knox Art Gallery, 7 ix 84

Acquisition (1981) by Museum of Art, Carnegie Institute, of Robert Skolnik’s Parquet Deformation Robert Skolnik’s Parquet Deformation, alternate drawing, was offered (1980) to Albright-Knox Art Gallery. This drawing was executed at Carnegie-Mellon University, Spring 1966, not at SUNY/Buffalo The offer was turned down by Robert Buck, the A-K Director.

• Letter, carbon copy: William S. Huff (wsh) to Oswaldo Rodriguez, Curator, Museum of Art, Carnegie Institute, 20 ii 81 (2 pp) Offer of the Basic Design plate to Carnegie and its background.

• Receipt: Drawing on heavy paper, signed Charles W. Cathey, Registrar; Museum of Art, Carnegie Institute, Pittsburgh, Pa, 20 ii 81

• Acknowledgement of gift, xerox: “Parquet Deformation – Variant II,” drawing by Robert Skolnik, signed John R. Lane, Director; Museum of Art, Carnegie Institute, Pittsburgh, Pa, 3 iv 81

• Letter, carbon copy: Oswaldo Rodriguez, Curator, Museum of Art, Carnegie Institute, to wsh, 21 iv 81

• Letter, carbon copy: Karen E. Donovan, Secretary to the Curator, Museum of Art, Carnegie Institute, to wsh, 9 vii 81

• Letter, xerox: wsh to Robert Skolnik, New York, NY, 22 iv 81

William S. Huff Papers MS 139.2 page 19

• Acknowledgement of gift, xerox: “Parquet Deformation – Variant II,” drawing by William S. Huff and student Robert Skolnik, signed J. R. L., Director; Museum of Art, Carnegie Institute, Pittsburgh, Pa, 30 vii 81 The dual attribution of a student’s classroom work is in order; however, I would have preferred the names to be in reverse order: student Robert Skolnik and William S. Huff.

Box 19

Design work of William S. Huff (in 7 binders):

Binder 1—Thesis, Yale Department of Architecture; pre-Practice Designs

• [certificate] Membership in Timothy Dwight College, Yale University, 1949 Charles Sawyer, Master of TD College, was also the Dean of the School of Fine Arts, under which was the Department of Architecture. TD College was one of 10 residential colleges (though modeled on Oxford, there was no instruction). I was assigned to it in February 1945 at the end of WW2—one of only three colleges to house non-service students. I went to the Navy in July 1945 for 13 months. Upon my return to Yale, my new class had over 1000 students, and I was first housed in the Payne Whitney Gymnasium (basket ball court, where we returned to a barracks environment), then put into one of several new Quonset huts out Whitney Avenue. Eventually, I was given the choice to select a college, and I was fortunate to be granted my choice of returning to TD.

• [drawing, photograph] Graphite copy of photograph of Santa Caterina del Sasso (on Lake Maggiore, Province of Varese, Lombardy Italy), Shepherd “Sheppy” Stevens instructor, 1947 This was done in a pre-Architecture, rendering course. I was proud of this drawing at the time.

• [program] “Commencement Week Program 1949” My major in Yale College was Architecture. This qualified me to be accepted into the Department of Architecture, 1949-52. The First Year of Architectural Design was my taken in the Senior Year of the College. I spent three more years in the Department of Architecture in the School of Fine Arts.

• [letter, xerox] Gail A. Ferris, Director, Alumni Records Office, to wsh, 13 x 89 My BArch’52 was upgraded in 1972 to MArch’52. I had been erroneously citing it as MArch’72. After seeing that later students were awarded MArch degrees for the same work we had executed in the early 1952s (and after Harvard had upgraded the degrees of some of its students under the same circumstances, I petitioned for the degrees from out time at Yale Architecture to be upgraded.

• [advertisement, xerox] book: Piranesi: Early Architectural Fantasies The illustration of the temple in this ad was a model for the design of the Episcopal Church or my thesis. Earlier instruction of Philip Johnson had pointed me in this direction.

• [presentation drawings, photographs] Yale Department of Architecture Thesis: An Urban Episcopal Church, executed in Spring 1952 (10 pp) Both Louis Kahn and Paul Schweikher were the thesis instructors of my class. I received the highest grade, the Commend category. The original drawings (ink pen and ink with graphite overtones) are in the Sterling Library Archives, Yale University.

• [model, photographs] Yale Department of Architecture Thesis: An Urban Episcopal Church, executed in Spring 1952 (3 pp) William S. Huff Papers MS 139.2 page 20

Only the model of the church was saved. The model’s base, base, the whole site, was discarded. The original model (laminated Strathmore board) is in the Sterling Library Archives, Yale University.

• [project commentary, original typed sheet] Garden Pavilion, c. 1954 xxxxxxx • [model, photograph] Garden Pavilion, Kennedy Mill Farm, Portersville, Pa., c. 1954 Each set of planes has a different color: vertical, yellow; lower horizontal, red; upper horizontal, blue.

• [news clipping] “Thanksgiving Isn’t Pilgrim’s Property,” The Tribune, 6 x 55 [regarding A Baptistry for St. Andrew’s Church, Pittsburgh] Presentation of baptistry model to Rector and Suffragan Bishop.

• [project commentary, original typed sheet] A Bastistry 1955 (2 pp)

• [model, photographs] Memorial Chapel to House Baptismal Font of St. Andrew’s Episcopal Church, Pittsburgh, Pa, 1955 (6 pp) The model material: laminated Bristol board, white spray paint, brass pegs.

• [study sketches, photographs] Memorial Chapel to House Baptismal Font of St. Andrew’s Episcopal Church, Pittsburgh, Pa, 1955 (6 pp) I was in correspondence with Constructivist painter Friedrich Vordemberge-Gildewart about the design of the screen at the back. Somewhere there is a sketch that he “edited”—i.e., indicated suggested changes.

• [letter, original] Charles C. Arensberg to wsh, 18 ix 58 Regarding my letter, reporting my model of the gazebo I had designed for him..

• [study sketches, photographs] Gazebo for Charles Covert Arensberg, Shadyside, Pittsburgh, Pa., 1958 (2 pp)

• [model, photographs] Gazebo for Charles Covert Arensberg, Shadyside, Pittsburgh, Pa., 1958 (2 pp) The model material: basswood sticks; balsam wood struts.

• [project commentary, original typed sheets] House for George F. Huff and Family, Fox Chapel, Pa., 1953-1954 (3 pp)

• [presentation drawings, photographs] House for George F. Huff Jr. and Family, 1953-1954 (10 pp) These drawings were principally done for their publication in Arts and Architecture, edited by John Entenza. Los Angeles, Calif., September 1955.

• [project commentary, original hand written sheets] House for George, May1954 (3 pp)

• [model, photographs] House for George F. Huff Jr. and Family, Fox Chapel, Pa., 1953-1954 (4 pp) The model material: laminated Bristol board, white spray paint mounted on small drafting board.

• [study sketches, photographs] House for George F. Huff Jr. and Family, 1953-1954 (2 pp) William S. Huff Papers MS 139.2 page 21

• [study sketch, photograph] Sculpture Garden for Marshall House, Arts and Crafts Center, Pittsburgh, Pa., 1958.

• [model, photographs] Sculpture Garden for Marshall House, Arts and Crafts Center, Pittsburgh, Pa., 1958 (4 pp) The model material: laminated Bristol board, white spray paint colored sands.

• [study sketches, photographs] William Bickerstaff Residence, O’Hara Township (Pittsburgh), Pa., 1955 (6 pp).

Binder 2—G. A. Steiner Museum for American Indian Baskets, etc.

• [sketches, original] travel sketches Spring 1953 (2 pp).

• [sketches, photographs] Farmer’s House, Kennedy Mill Farm, Porterville, Pa., summer 1956- 1958 (4 pp)

• [sketch, original on envelope] travel sketches, ca. 1953 This might be an early idea for the Steiner Museum.)

• [sketches, original on lined paper] early massing plans, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (2 pp)

• [sketches, original on grid paper] final massing plan, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (8 pp)

• [sketches, original on grid paper] study mostly of front and back towers and skylights, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa., 1965 (34 pp)

• [photographs] detail of skylights of study model of two bays, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (3 pp) Material: laminated chipboard, made by a hired student who was expert in this technique.

• [news clipping] Harold Gwin, “Rare museum located here,” New Castle News, 26 vii 72 (5 pp)

• [drawings, photographs] Gatehouse for the G. A. Steiner Museum, Kennedy Mill Farm, Porterville, Pa., June-July 1972 (5 pp) Draftsman: Anthony de Chicas/Amtoni DeChicchis(?). Plaster mural on tower was not approved by the wsh.

William S. Huff Papers MS 139.2 page 22

Box 20

Binder 3—G. A. Steiner Museum for American Indian Baskets, Kennedy Mill Farm, Portersville, Pa., (1966-1968) (continued) Exhibition System for the G. A. Steiner Museum for American Indian Baskets, with Irene Pasinski Associates, (1971-1972)

• [sketch, original] self portrait!?! 30 v 80

• [letter, original] Walter Antrim, Secretary, Bureau of Professional Licensing, Commonwealth of Pennsylvania, Harrisburg, Pa. 22 x 56 Failure to pass the examination (26-29 iv 56) given by the Stare Board of Examiners of Architects. I received the report while studying at the HfG/Ulm School.

• [report, original] examination grades, Bureau of Professional Licensing, Commonwealth of Pennsylvania, June 1956 From the test scores I saw that I had done poorly in two areas in which I should have done well: Arch. Engineering and History of Arch. Regarding Architectural Engineering/Construction, there was an all morning open book examination and a half afternoon closed book examination. The afternoon exam depended on my knowing a certain formula regarding foundations/footers. Since I did not know it, there was nothing to do about it. Regarding History of Architecture, on first reading the questions, I thought that I had all of them cold. After the exam, a colleague asked me, “What did you think about one certain question?” (I believe about Spanish influence on architecture in the US). It suddenly struck me, that though I had seen that question on my first review of the exam, I had failed to address it at all during the exam. The third part of the exam on which I thought I could have done better was Design. Philip Johnson had told us that he had failed part on his Connecticut licensing exam; and he told how the second time around he had (or would) present something very conservative. The topic of the design program of our exam was a community center. Obviously, my approach for it did not please the graders. I retook the exam the first time I could upon my return from Ulm; and as I remember, I could choose those subjects that I wanted to re-take: I chose Arch. History and Design and, perhaps, Arch. Engineering/Construction. I passed this second time.

• [large postcard] “Portrait of a Young Man (‘The Architect’),” Andrea del Sarto (1486-1530), National Gallery, London

• [large greeting card] “Portrait d’un architecte,” J. A. P. Ingres (1776-1862) from César Jannello César Jannello was an important teacher of design at the University of Buenos Aires. He was a colleague of Tomás Maldonado. The card may have been put together by Jannello.

• [portrait, photograph] William S. Huff, Architect, in the G. A. Steiner Museum for American Indian Baskets, Porterville, Pa.

• [printed invitation] invitation to an opening of the G. A. Steiner Museum for American Indian Baskets, instructions to its location; blocks of the two stamps (7¢) for mailing invitations There were two openings: one for my mother’s extended family and friends; one for my friends and architectural colleagues.

William S. Huff Papers MS 139.2 page 23

• [print] text of the silver dedication plaque for the G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. Due to my deplorable spelling “Gottlieb” is misspelled on the plaque

• [photograph] Elsa S. Huff, client, breaking ground for the G. A. Steiner Museum for American Indian Baskets, Porterville, Pa.

• [presentation drawings, photographs] G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (4 pp) The final building did not have a basement. Otherwise the plan, elevation, and section of these drawings are all but the same as the final design.

• [photographic copy of old photograph] Dat-So-La-Lee, Washo basket weaver Dat-so-la-lee, handled by Abe Cohn, trader of Indian artifacts, was the most famous of all American Indian basket weavers and more or less led an industry, under the patronage of Cohn, of basket weaving in her tribe, which had not been known for basket weaving.

• [photographic copy of old photograph] G. A. Steiner, collector of American Indian baskets

• [photographs] exterior, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (3 pp)

• [photographs] interior, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (19 pp) Most interior photographs were made by Clyde Hare, professional photographer (Feb. 1972).

• [photographs] interior, small cubic glass case, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (4 pp)

• [photographs] interior, small cubic glass case with designer Robert Gabriel (Office of Irene Pasinski), G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (3 pp) The gaps between the front glass pane and the rest of the cube were not easily seen. This was always a surprise when demonstrated to visitors.

• [photographs] interior, Elsa S. Huff, client and owner, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (9 pp) Nine photographs of Elsa Huff in black attire photographed by Pittsburgh Press, 1972.

• [photograph] interior, Elsa S. Huff, client and owner, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (1 pp) One photograph of Elsa Huff in brocade attire photographed by Silvia Sacks, 1972.

• [photograph] stone Steiner-Huff country house, Kennedy Mill Farm, Portersville, Pa. The house is about 100 yards from the G. A. Steiner Museum.

William S. Huff Papers MS 139.2 page 24

• [photograph] exterior, client and architect with guests, G. A. Steiner Museum for American Indian Baskets, Porterville, Pa. (3 pp) Guests: Ophelia Parks, sister of Ahmad Jamal, Rodolfo Machado, architect, Richard Sowell.

• [photograph] stone Steiner-Huff country house, Kennedy Mill Farm, Portersville, Pa. The house is about 100 yards from the G. A. Steiner Museum.

• [photographic copy of old photographs] interior, G. Steiner house, Allegheny City, Pa. (x pp) Some ceramic and bronze pieces were in the library section of the G. A. Steiner Museum.

Binder 4—William Y. Rodewald Residence, Fox Chapel (Pittsburgh). Pa., 1965-1968

• [exploratory thumbnail sketches, originals] William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 (2 pp)

• [early developmental sketches mostly on grid paper, originals] William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 (5 pp)

• [subsequent developmental sketches on grid paper, originals] William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 (25 pp)

• [early presentation drawings, photographs] design version with concrete frame and slabs and brick and block walls, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 or after (4 pp)

• [early presentation drawings, photographs] design version with wood frame and wood infill walls, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 or after (4 pp),

• [early presentation drawings, photographs] another wood design version, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1965 or after (5 pp)

• [presentation drawings, photographs] final wood design version, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 24 vi 68 (13 pp)

• [presentation drawings, photographs] flipped and final wood design version, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., after 24 vi 68 (6 pp) At the last minute, north was flipped for south—judged to be a better orientation.

• [model, photographs] flipped and final wood design version, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., ca. April 68 (7 pp) The model had the original orientation; the photographic negatives were flipped for printing. Material: basswood.

William S. Huff Papers MS 139.2 page 25

Box 21

Binder 5—William Y. Rodewald Residence, Fox Chapel (Pittsburgh). Pa., 1968-1970 (continued)

• [photographs] exterior, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1970 or after (9 pp) . • [photographs] interior, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1970 or after (6 pp)

• [Christmas greeting card, color photograph] William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., December 1972 . • [photographs] construction, William Y. Rodewald Residence, Fox Chapel (Pittsburgh), Pa., 1968-1970 (46 pp)

• [news clipping] Margie Carlin, “Castle Windows in Mod House,” Pittsburgh Post-Gazette, 10 v 71 Regarding the William Y. Rodewald Residence.

• [news clipping] Mary Ellen McBride, “Entertaining in A Big Way” and “Recipes for A Crowd,” Pittsburgh Post-Gazette, 2 iii 77 (3 pp) The special swing-out cabinets in the Rodewald kitchen were shown and mentioned. I believe the design came from the Tasso Katselas office.

Binder 6—Mrs. John M. Horn Residence, Greensburg. Pa., 1966; Royster Garden, Baltimore, Md., 1964, etc.

• [exploratory sketch on grid paper, original] Mrs. John M. Horn Residence, Greensburg, Pa., 12 i 1964

• [early developmental sketches on grid paper, originals] Mrs. John M. Horn Residence, Greensburg, Pa., January 1964 (4 pp)

• [site studies on grid paper, originals] Mrs. John M. Horn Residence, Greensburg, Pa., 1964 (4 pp)

• [subsequent developmental sketches on grid paper, originals] Mrs. John M. Horn Residence, Greensburg, Pa., 25 i 64-26 vi 64 (8 pp)

• [final presentation drawings, photographs] design version with concrete frame and slabs and brick and block walls, Mrs. John M. Horn Residence, Greensburg, Pa., after June 1964 (5 pp)

• [model, photographs] final design, Mrs. John M. Horn Residence, Greensburg,. Pa., after June 64 (16 pp) William S. Huff Papers MS 139.2 page 26

Materials: laminated Bristol board; basswood sheets.

• [early presentation drawings, photographs] Rehabilitation of a Building for the Therapeutic Community of Project F.A.C.E. (The Family Addiction Control and Education Program), Homewood, Pittsburgh,. Pa., 1970-1971 (3 pp) This was a drug rehabilitation program for all races, administered mostly by Black citizens of the Homewood/Pittsburgh community.

• [photographs] Jerry Royster, client of the Townhouse Garden for Jerry Royce, Baltimore, Md., June-July 1976 (2 pp) Royster, in the swelter of Baltimore, looking into his garden from the balcony of the main floor of his typical Baltimore row house. Royster walking through his garden at the lower level of his row house.

• [photographs] site conditions of present garden to be redesigned, Townhouse Garden for Jerry Joyce, Baltimore, Md., June-July 1976 (4 pp) As is the row house, the garden is very narrow. Views of undefined adjoining properties are included. The flowerbed strip of one owner is seen beyond a string that marks that edge of Royster’s garden.

• [exploratory sketches on grid paper, originals] Townhouse Garden for Jerry Royce, Baltimore, Md., 23 iv 76 (2 pp)

• [early developmental sketches on grid paper, originals] Townhouse Garden for Jerry Royce, Baltimore, Md., 24 iv 76 (2 pp)

• [subsequent developmental sketches on grid paper, originals] Townhouse Garden for Jerry Royce, Baltimore, Md., 24 iv 76 (2 pp)

• [consultative sketch, original] by Rodolfo Machado, Architect; Townhouse Garden for Jerry Royce, Baltimore, Md., 1 vi 76 (2 pp) This sketch is to be viewed horizontally. Machado suggested angled backs on the four square seats.

• [final developmental sketches on grid paper, one original and ink drawing added to a xerox copy] Townhouse Garden for Jerry Royce, Baltimore, Md., 28 vi 76; revised 1 vi 76 (2 pp)

• [project commentary, original typed sheets] If there is to be a Garden in Baltimore City; Arranged in Three Parts, 1-5-6 vi 76 (3 pp) Royster was an airline steward and was away from home a great deal of the time. Therefore, he did not want to do a lot of gardening (though the neighbors wanted him to bring his yard into keeping with theirs. I took a cue from the brick path already in the yard and, excepting for a small rose bed, I paved the whole yard with Baltimore’s common brick—designing a visually intriguing pattern, which was comfortably viewed from the balcony of the main floor. Two low walls were located immediately within and along his two property lines—a string marks one property line, showing in two photographs of the site. These two walls afforded a convenient sitting convenience not only for Royster and his guests, but for his neighbors, as well—separating, but sharing. At the same time, Royster could enjoy his neighbors’ flowerbeds as part of the pleasures of his low maintenance garden. The four mute seats were more symbolical than functional, but not totally beyond usage. Black slate trim was used rather than Baltimore’s white marble trim.

William S. Huff Papers MS 139.2 page 27

• [project submission, xerox copy] for PA Awards Competition: An Urban Garden for a Baltimore Row House, 31 vi 76

Box 22

Binder 7—James O. H. Williams Residence, Churchill Boro (Pittsburgh). Pa., October 1975, Sandra Leavitt House, 1978, etc.

• [photograph] James O. H. Williams, client, with William Huff, architect., ca. 1974 Client’s visit to the G. A. Steiner Museum to see the design work of William Huff. Williams was a contractor and planned to build his own house.

• [photograph] James O. H. Williams and Jackie Williams, clients, with William Huff, architect, in Steiner Museum, ca. 1974 Client’s visit to the G. A. Steiner Museum to see the work of William Huff. Williams was a contractor and planned to build his own house. The Williamses had one son.

• [photograph] Yvonne Townsend, sister of James O. H. Williams, ca. 1974) The contact with the Williamses was made by his sister, Yvonne Townsend, a good friend.

• [photograph] James O. H. Williams and Jackie Williams, clients, in Steiner Museum, ca. 1974

• [exploratory sketch on grid paper, original] James O. H. Williams Residence, Churchill Boro (Pittsburgh), Pa., 30-31 xii 1974 (4 pp)

• [early developmental sketches on grid paper, originals] James O. H. Williams Residence, Churchill Boro (Pittsburgh), Pa., 2 i 75 (6 pp)

• [subsequent developmental sketches on grid paper, originals] James O. H. Williams Residence, Churchill Boro (Pittsburgh), Pa., 8-9 i 75 (9 pp)

• [final presentation drawings, photographs] James O. H. Williams Residence, Churchill Boro (Pittsburgh), Pa., 1965 (15 pp)

• [massing model, photographs] James O. H. Williams Residence, Churchill Boro (Pittsburgh), Pa., 1965 (11 pp) Material: chipboard.

• [exploratory sketch on grid paper, original] Sandra Leavitt Residence, Buffalo, N.Y., 8 x 78; 5:00 am Sandra was a former student in my Basic Design class, 1976-77. She told me that I was so thorough that she thought I would do a good job for her. Sandra had a son and a fiancé.

• [early developmental sketches on grid paper, originals] Sandra Leavitt Residence, Buffalo, N.Y., 9 x 78 – 9 x 78, 3-5 am (2 pp)

William S. Huff Papers MS 139.2 page 28

• [early developmental sketches (same as former), photographs] Sandra Leavitt Residence, Buffalo, N.Y., 9 x 78 – 9 x 78, 3-5 am (2 pp)

• [post-exploratory sketch on grid paper, originals] post-Sandra Leavitt Residence, Buffalo, N.Y., 9 iii 86

• [as-built drawings, xerox copies] McKinley Wade House, Pittsburgh, Pa.., 25 iii 80 (3 pp)

• [exploratory sketch on grid paper, original] Renovation and Addition to McKinley Wade House, Pittsburgh, Pa., 11-15 iii 80 (2 pp)

• [early developmental sketches, originals] Renovation and Addition to McKinley Wade House, Pittsburgh, Pa., 15-16 iii 80 (2 pp)

Box 23 Oversize Folio

• 10 designs by Or Fung: nine are based on one Magic Square; one is based on another Magic Square. • A second version (black and white) of Or Fung’s basic Magic Square. • Two numbered diagrams of the two different Magic Squares – referring to both of Or Fung’s designs

Box 24 Oversize Roll

• Printed Parquet Deformation of Karen Li • Printed Parquet Deformation of Todd Tung

Box 25

• “from ambiguity to integration” Louis Golomb. Carnegie Institute of Technology Department of Architecture, Basic Design Course, 1962

ISIS-Symmetry Journals—inventory, prepared August 2013 from William S. Huff (sent 28 xi 13)

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SPECIAL ISSUE Symmetry in a Kaleidoscope 1” György Darvas and Dénes Nagy, eds.; Vol. 1, No. 1, 1990 Note: “Image on the front cover: William S. Huff Dissymmetric Kaleidoscopes: Homage à Pasteur (Variations on a classic design), 1990 (see also pp. 36-38).”

William S. Huff Papers MS 139.2 page 29

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SPECIAL ISSUE Symmetry in a Kaleidoscope 2” György Darvas and Dénes Nagy, eds.; Vol. 1, No. 2, 1990 Note: “Image on the front cover: William S. Huff Dissymmetric Kaleidoscopes: Homage à Pasteur (Variations on a classic design), 1990.”

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SPECIAL ISSUE Symmetry in a Kaleidoscope 3” György Darvas and Dénes Nagy, eds.; Vol. 1, No. 3, 1990 Note: “Image on the front cover: William S. Huff Dissymmetric Kaleidoscopes: Homage à Pasteur (Variations on a classic design), 1990.”

see 314 for good definitions of symmetry see also 234

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SPECIAL ISSUE Symmetry in a Kaleidoscope 4” György Darvas and Dénes Nagy, eds.; Vol. 1, No. 4, 1990 Note: “Image on the front cover: William S. Huff Dissymmetric Kaleidoscopes: Homage à Pasteur (Variations on a classic design), 1990.”

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “EXHIBITION CATALOGUE Symmetry and Asymmetry” György Darvas and Dénes Nagy, eds. (László Beke, guest ed.); Vol. 2, Nos. 1-2, 1991 Note: “Huff , William S. Mirror-rotation symmetry, 2 models, p. 18. I always credited the students in regard to their works. The editors did not follow my rule. Both models were done by student Arthur E. Border at the University of Southern California, Feb. 1969.

Vol. 2. Nos. 3-4, 1991 were not published.

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SYMPOSIUM Symmetry of Patterns,” György Darvas and Dénes Nagy, eds.; Vol. 3, No. 1, 1992 Note: Huff, William S. “Homonym, homonym, homonym, and other word-pairs,” pp. 28-29..

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry of Patterns, 2” György Darvas and Dénes Nagy, eds.; Vol. 3, No. 2, 1992

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) György Darvas and Dénes Nagy, eds.; Vol. 3, No. 3, 1992

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) György Darvas and Dénes Nagy, eds.; Vol. 3, No. 4, 1992

William S. Huff Papers MS 139.2 page 30

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry and Topology in Evolution,” György Darvas and Dénes Nagy, eds. (Szaniszló Bérczi and Béla Lukács, guest eds.); Vol. 4, No. 1, 1993

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry and Topology in Evolution,” György Darvas and Dénes Nagy, eds. (Szaniszló Bérczi and Béla Lukács, guest eds.); Vol. 4, No. 2, 1993

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “SPECIAL ISSUE Fractals,” György Darvas and Dénes Nagy, eds. (Mária Vicsek and Tamás Vicsek, guest eds.); Vol. 4, No. 3, 1993

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry and Structure: Dialogue Among Disciplines,” György Darvas and Dénes Nagy, eds. (John Hosack and Dénes Nagy, guest eds.); Vol. 4, No. 4, 1993

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Origami, 1,” György Darvas and Dénes Nagy, eds.; Vol. 5, No. 1, 1994

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Origami, 2,” György Darvas and Dénes Nagy, eds.; Vol. 5, No. 2, 1994

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “In Memoriam Ernö Lendvai,” György Darvas and Dénes Nagy, eds.; (Siglind Bruhn and Dénes Nagy, guest eds.); Vol. 5, No. 3, 1994

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Ars (Dis)Symmetry,” György Darvas and Dénes Nagy, eds. (Laszló Beke, guest ed.); Vol. 5, No. 4, 1994 Note: “William S. Huff Dissymmetric Kaleidoscopes (Homage à Pasteur), Variations on a classic design, 1961/1990, computer drawing, cover design for Symmetry: Culture and Science.” p. 346. This design was elaborated from a student’s design of whirling triangles (1961) that was produced in my basic design studio. Parts were redrawn with ruling pen and India ink and photographed. Negatives were printed regularly and in reverse, and a collage was pieced together and reproduced. This was done before computer drawing was refined. wsh

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry: Natural and Artificial, 1,” György Darvas, Dénes Nagy, and Martha Pardavi-Horvath eds.; Vol. 6, No. 1, 1995 William S. Huff Papers MS 139.2 page 31

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry: Natural and Artificial, 2,” György Darvas, Dénes Nagy, and Martha Pardavi-Horvath eds.; Vol. 6, No. 2, 1995 Note: Huff, W. S.: “The programmed design: Probing the discernibility of properties of symmetry,” pp. 254-257.

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry: Natural and Artificial, 3,” György Darvas, Dénes Nagy, and Martha Pardavi-Horvath eds.; Vol. 6, No. 3, 1995

Box 26

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry: Natural and Artificial, 4”—“EXHIBITION Ars Scientifica,” György Darvas, Dénes Nagy, and Martha Pardavi-Horvath eds.; Vol. 6, No. 4, 1995

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), György Darvas and Dénes Nagy, eds. ; Vol. 7, No. 1, 1996 Note: McCracken, P. K. and Huff, W. S.: “Update: A graphic derivation of the 13 symmorphic wallpapers with a notation about the four nonsymmorphic ones,” pp. 65-68.

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry in Music, Dance and Literature,” György Darvas and Dénes Nagy, eds. (Siglind Bruhn, guest ed.); Vol. 7, No. 2, 1996

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), “Symmetry and Information,” György Darvas and Dénes Nagy, eds. (Koichiro Matsuno and Pedro C. Marijuán, guest eds.); Vol. 7, No. 3, 1996

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry], György Darvas and Dénes Nagy, eds. (Siglind Bruhn, guest ed.); Vol. 7, No. 4, 1996

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Wasan,” the curatory of the International Symmetry Foundation, ed. (Dénes Nagy, guest ed.); Vol. 8, No. 1, 1997 William S. Huff Papers MS 139.2 page 32

Note: “Images on the front and back cover: Student works from the Basic Design Studio of William S. Huff (Department of Architecture. SUNY at Buffalo, N.Y.)”

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry and Information,” the curatory of the International Symmetry Foundation, ed. (Koichiro Matsuno and Pedro C. Marijuán, guest eds.); Vol. 8, No. 2, 1997 Note: “Images on the front and back cover: Student works from the Basic Design Studio of William S. Huff (Department of Architecture. SUNY at Buffalo, N.Y.)”

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), the curatory of the International Symmetry Foundation, ed.; Vol. 8, Nos. 3-4, 1997 Note: “Images on the front and back cover: Student works from the Basic Design Studio of William S. Huff (Department of Architecture. SUNY at Buffalo, N.Y.)”

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Mindprints, footprints literacy, and culture,” the curatory of the International Symmetry Foundation, ed; Vol. 9, No. 1, 1998

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “ORDER / DISORER Proceedings, 4th Congress,” the curatory of the International Symmetry Foundation, ed. (G. Darvas, D. Nagy and D. Schechtman, guest eds.); Vol. 9, Nos. 2-4, 1998 Note: In this triennial year of the Fourth Congress of ISIS-Symmetry, I (wsh) did not have an abstract in this issue. Instead of my presenting a twenty-minute paper on some discrete topic, I was given most of an evening session to make a presentation on my whole basic design course.

Some time after ISIS-Symmetry’s Congress in Sydney, Australia, in July 2001, the Society’s former (that is, he was not re-elected) treasurer, György Darvas, transferred all the Society’s funds to a new bank account and continued to publish Symmetry: Culture and Science under his sole editorship and registered the ISSN number under his name. The new issues were backdated to 1999. The Society ISIS-Symmetry renamed its journal Symmetry: Art and Science. Many cases were taken to the Hungarian Court, and the ISIS-S society always won, but G. Darvas continued to defy court decisions and filed one nonsense suits after another, which he always lost. Darvas, incidentally continued to use the cover design that was designed by Gunter Schmitz and William Huff, both us SUNY/B faculty—who requested that he desist.

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry) “Chapters from the HISTORY OF SYMMETRY,” György Darvas, ed.; Vol. 9, Nos. 1-2, 1999 (cover); Vol. 10, No. 1-2, 1999 (title page)

William S. Huff Papers MS 139.2 page 33

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry), the curatory of the International Symmetry Foundation, ed.; Vol. 10, Nos. 3-4, 1999

• Symmetry: Culture and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry), “Polyhedra,” the curatory of the International Symmetry Foundation, ed. (Sándor Kabai, guest ed.); Vol. 11, Nos. 1-4, 2000

Box 27

• Symmetry: Culture and Science (The journal of the Symmetrion) “Symmetry in Ethnomathematics,” the curatory of the International Symmetry Foundation, ed. (György Darvas, ed.); Vol. 12, Nos. 1-2, 2001

• Symmetry: Culture and Science (The journal of the Symmetrion), “Symmetry in Genetic Information,” György Darvas, ed. (Sergei V. Petoukhov, guest ed.); Vol. 12, Nos. 3-4, 2001

• Symmetry: Culture and Science (The journal of the Symmetrion), “Polyhedra 2, Part 1,” György Darvas, ed. (Sándor Kabai, guest ed.); Vol. 13, Nos. 1-2, 2002

• Symmetry: Culture and Science (The journal of the Symmetrion), “Polyhedra 2, Part 2,” György Darvas, ed. (Sándor Kabai, guest ed.); Vol. 13, Nos. 3-4, 2002

• Symmetry: Culture and Science (The journal of the Symmetrion), “Synthesis of Constancy and Change, Part 1,” György Darvas, ed.; Vols. 14-15, Nos. 1-2, 2003-2004

• Symmetry: Culture and Science (The journal of the Symmetrion), “ORDER, ENTROPY AND SYMMETRY” György Darvas, ed. (Michel Petitjean, guest ed.); Vol. 16, No. 1, 2005

• Symmetry: Art and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Intersections of Art and Science,” George Lugosi and Dénes Nagy eds.; 2001 / 1 – 2 Inside the cover of Symmetry: Art and Science, 2001 / 1 – 2: “Symmetry: Art and Science (formerly Symmetry: Culture and Science) is the journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry].” Note: Huff, W. S., “The hinged dodecahedron,” pp. 70-73.

• Symmetry: Art and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), Department of Architecture Sint- Lucas Brussels, Belgium, ed., Vol. 2 (New Series), Nos. 1-4, 2002 Note: William S. Huff, “Defining Basic Design as a Discipline,” pp. 91-98.

William S. Huff Papers MS 139.2 page 34

• Symmetry: Art and Science (The Quarterly of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) No.s 1-4, 2004

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Symmetry 2 - 3,” George Lugosi and Dénes Nagy eds. (Claudio Guerri and Patricia Muños. guest eds.); 2007 / 1 Note: William S. Huff, “Symmetry: an appreciation of its presence in man’s consciousness.”

Box 28

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Form and Symmetry,” George Lugosi and Dénes Nagy eds. (Claudio Guerri and Patricia Muños. guest eds.); 2007 / 2 - 4 Note: “Cover images: William S. Huff (See page 6).” “Cover Images: William S. Huff. Front Cover: A sketch drawing of the study model of a new Color Solid. (This third variant was devised after the abstract was edited for publication.) Back Cover: ‘Starburst,’ by John Wingfelder in the Basic Design Studio of William S, Huff, University at Buffalo, Fall 1989,” p.6. Huff, William S., “Color Solids Informed by Symmetry,” pp, 246-249.

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Appendix,” George Lugosi and Dénes Nagy eds. (Claudio Guerri and Patricia Muños. guest eds.); 2007 / 2 - 4

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]) “Harmony of Forms and Processes,” George Lugosi and Dénes Nagy eds. (Dénes Nagy and Oleg Bodnar. guest eds.); 2008 / 1 - 4 Note: Huff, William S., “On Regulation and Hidden Harmony,” pp, 37-40

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), George Lugosi and Dénes Nagy eds. (Janusz Rebielak. guest ed.) “Symmetry of Forms and Structures;” 2009 / 1 – 4 (version with an appendix of late papers) Note: Huff, William S., “Wherefore Is Dilatation-Mirror-Rotation Brought Forth?—Indeed, It Has Always Been,” pp, 120-123

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), 2010 / 1-4

• Symmetry: Art and Science (The Journal of the International Society for the Interdisciplinary Study of Symmetry [ISIS-Symmetry]), 2013 / 1-4

• K. L Wolf and D. Kuhn, Forma y Simetria, (Buenos Aires: Editorial Universitaria de Buenos Aires (EUDBA, 2007). Note: Editorial Universitaria de Buenos Aires published Spanish versions of Wolf and Kuhn is 1960, 1969, and 1977

William S. Huff Papers MS 139.2 page 35

• Extended Abstract: The International Katachi U Symmetry Symposium; University of Tsukuba, Japan; November 21-25, 1994 Note: Huff, William S., “The Landscape Handscroll and the Parquet Deformation,” pp, 219-222

The Spanish translation of Wolf und Kuhn was published by Eudeba in 1960, for which he believes he is indirectly responsible. I have found references of the publication of Forma y Simetría (Wolf, Karl Lothar and Dorothea Kuhn) put out by the Editorial Universitaria de Buenos Aires in 1960, 1969, and 1977.

Box 29 Le Corbusier Publications and Ephemera

• Ronchamp • Global Architecture, 1971 • Global Architecture, 1971 • Global Architecture, 1972 • Global Architecture, 1972 • Global Architecture, 1974 • Global Architecture, 1974 • Global Architecture, 1975 • Also includes exhibit catalogs, pamphlets, booklets and other ephemera related to Le Corbusier

Box 30 Buckminster Fuller, Robert Le Ricolais, Konrad Wachsmann and James Ritzgibbon Publications and Ephemera

• Architectural Design, July 1961 • Zodiac 19 • l’architecture d’au jour d’hui, number 108 • l’architecture d’au jour d’hui, number 110 • Also includes pamphlets and other ephemera related to Buckminster Fuller, Robert Le Ricolais, Konrad Wachsmann and James Ritzgibbon

Box 31 De Stijl and Russian Constructivists Publications and Ephemera

Box 32 Richard Neutra, Le Corbusier, Yona Friedman, Karl Friedrich Shinkel, Roebling, Buckminster Fuller Publications and Ephemera. Also includes maps of the cities of Stockholm, Copenhagen and the town of Skovlunde, (a suburb of Copenhagen) noting sites of modern architecture. William S. Huff Papers MS 139.2 page 36

Box 33 Peter Eisenman, Emilio Ambasz, Rodolfo Machado, Charles Moore and Venturi Publications and Ephemera

• Global Architecture, 1970 • Global Architecture, 1976 • Progressive Architecture, March 1972 • Progressive Architecture, November 1976 • Houses for Sale by Emilio Ambasz, Peter Eisenman, Vittorio Gregotti, Arata Isozaki, Charles Moore, Cesar Pelli, Cedric Price, Oswald Mathais Ungers • Five Architects: Eisenman, Graves, Gwathmey, Hejduk, Meier • Art Forum, October 1976 • Also includes pamphlets and other ephemera related to Peter Eisenman, Emilio Ambasz, Rodolfo Machado, Charles Moore and Venturi

Box 34 Rudolph Schweikher, Frederick Kiesler, Marcel Breuer, Aris Konstantinidis, Philip Johnson, and Ulrich Franzen, Publications and Ephemera

• Global Architecture, 1972 • Fine Hoe Building, August/September, 1983 • Triglyph, Spring, 1985 • Inland Architect, November/December 1984 • The Yale Literary Magazine, September 1966 • Progressive Architecture, July 1961 • Yale Alumni Magazine, January 1964 • The Ideal Theater: Eight Concepts • Also includes pamphlets and other ephemera related to Rudolph Schweikher, Frederick Kiesler, Marcel Breuer, Aris Konstantinidis, Philip Johnson, and Ulrich Franzen

Box 35 Architectural Historians Nelson Wu, Francois Bucher, James Van Trump, etc. Publications and Ephemera.

Box 36

• file topic: Rodolfo Machado & Jorge Silvetti (+ John Hejduk) • file topic: Mandatory Thesis vs Special (Design) Project—Opposition • file topic: University of Hong Kong (Robert Collins about Eric Lye) [note: I was guest teacher for 3 weeks in 1989 at the University of Hong Kong. I guest-taught in the class of Robert Collins and others.] • file topic: Natale Sapone, Artist [note: Some of Sapone’s paintings seemed to address one of my major basic design classroom assignments.] William S. Huff Papers MS 139.2 page 37

• file topic: Emilio Ambasz—Entry for Thieme-Becker [note: The German Thieme-Becker is the most important of art encyclopedias.] • file topic: Change of Architecture Curriculum, proposed by Edward Steinfeld + Opposition [note: Edward Steinfeld, and interim acting chairman of UB’s Dept. of Architecture, proposed a drastic change in the curriculum, as Chair of the Curriculum Committee. Gunter Schmitz and myself (Huff) opposed it. I do not know if I wrote a memo to that effect, but my comments are in red on the proposal.] • 24 file folders with the following material: scheduling of courses taught; earlier memoranda about deficient facilities, in respect to teaching spaces and students' drafting furniture; later memoranda about argument regarding curricular development, in respect to teaching fundamental design at the graduate level o 1974-75 Departmental and School, SUNY/Buffalo, memoranda o 1975-76 Departmental and School, SUNY/Buffalo, memoranda o 1976-77 Departmental and School, SUNY/Buffalo, memoranda o 1977-78 Departmental and School, SUNY/Buffalo, memoranda o 1978-79 Departmental and School, SUNY/Buffalo, memoranda o 1979-80 Departmental and School, SUNY/Buffalo, memoranda o 1980-81 Departmental and School, SUNY/Buffalo, memoranda o 1981-82 Departmental and School, SUNY/Buffalo, memoranda o 1982-83 Departmental and School, SUNY/Buffalo, memoranda o 1983-84 Departmental and School, SUNY/Buffalo, memoranda o 1984-85 Departmental and School, SUNY/Buffalo, memoranda o 1985-86 Departmental and School, SUNY/Buffalo, memoranda o 1986-87 Departmental and School, SUNY/Buffalo, memoranda o 1987-88 Departmental and School, SUNY/Buffalo, memoranda o 1988-89 Departmental and School, SUNY/Buffalo, memoranda o 1989-90 Departmental and School, SUNY/Buffalo, memoranda o 1990-91 Departmental and School, SUNY/Buffalo, memoranda o 1991-92 Departmental and School, SUNY/Buffalo, memoranda o 1992-93 Departmental and School, SUNY/Buffalo, memoranda o 1993-94 Departmental and School, SUNY/Buffalo, memoranda o 1994-95 Departmental and School, SUNY/Buffalo, memoranda o 1995-96 Departmental and School, SUNY/Buffalo, memoranda o 1996-97 Departmental and School, SUNY/Buffalo, memoranda o 1997-98 Departmental and School, SUNY/Buffalo, memoranda

Box 37

• Poster: designed by Helmud Schmid, with Claudio F. Guerri and William S. Huff. A Comprehensive Treatment of Color, Submitted to the Semiotic Nonagon. AIC Colour 05, Granada, Spain, 8-13 May 2005. 47 x 35” • Poster: Simulacra of Nonorientable Surfaces – Experienced Through Timing. William S. Huff, Department of Architecture, State University of New York at Buffalo. 35 x 23.5”

William S. Huff Papers MS 139.2 page 38

Box 38

• file topic: First Year Architecture Design Studio Teamwork—Alvaro Malo, Coordinator [note: The First Year Architecture Design Studio was notoriously found to be a curricular problem in many schools. As a team, we faculty members identified two models and chose one. It proved to be a meritorious model. However, we had difficulty to maintain the integrity of that model. Some personal disclosures are included here for he sense of the argument; more personal items were deleted.] • file topic: Correspondence with Victor Margolin, Editor of Design Issues [note: Margolin was not interested in abstract/formal/morphological issues of design.] • file topic: Correspondence with Attilio Marcolli, art critic/historian • file topic: University of North Carolina at Charlotte—color workshop, 24-25 Jan. 1985 • file topic: Interdisciplinary Conference on Polyhedra, Smith College, 6-8 April 1984 • file topic: “Design Science 3” conference, 28 April – 1 May 1983 and aftermath; Marlene Klinman on the Tessellated Möbius Strip and the Möbius Zipper • file topic: Teaching proposal to School of Design, University of Cincinnati under Profl N. Chaparos—project on the Trisection of the Cube in collaboration with Martin Gardner (Dr. Crypton). 1985 • file topic: ACSA Distinguished Professor Award put forth by R. G. Shibley, Chair, 1985 [note: While the proposal was destined to fail, this file records wsh’s potential qualifications at the time.] • file topic: Design Pedagogy—Exceptional First Year Architecture Assignment and reflections on what design is [note: First two exercises assigned to First Year Architecture (not Basic Design) students of F. R. R. Drury, Carnegie Institute of Technology during early 1960s and critical analysis of Drury assignment by W. S. Huff. Drury called his course “Architectural Basic Design.”] • • x • x • x • x • x • x • x • x • x • x • x • x •