In Sept 1972, Finlay enters into correspondence with Jurgen Brenner, a German architect, about a commission for an installation within a garden at the Max Planck Institute in Stuttgart. He selects Costley as the calligrapher and artist for the preparatory drawings. He writes Brenner that he wants "free-drawn letters...as opposed to rigid typographic letters. I consider it essential that poems that people are going to see every day, are verbal/visual/decorative, rather than (as it were) merely literary." In Nov-Dec 1972, Finlay sends instructions to Costley about execution of the sculpture for the installation. The poems in English & German include tile murals, Wave/Rock, Wave, Star/Steer, Sails/Waves, and, sundials, Sea/Land. He follows this up with suggestions for Latin & French versions. Finlay's 2nd list of poems include Schiff, Ark/Arc, Homage to Seurat, Cloud, Gourd (together with Nuclear Sail & Fountain/Sphinx), Set of Wild Stones, and The Colours of the Vowels. Brenner concurs with Costley's collaboration. Preliminary sketches by Costley for the project and feedback by Finlay take place in Jan 1973. Costley expresses concern about the 3-dimensional aspects for which he has not had experience. Nevertheless, he provides drawings for siting the sculpture. Finlay responds to Costley's suggestions and offers further ideas and modifications to the original plan. David Button sends Finlay two sundial diagrams for the project. Jurgen Brenner again is in agreement with Costley's collaboration with Finlay. In March 1973, Finlay sends suggestions to Costley for additions and modifications of the sketches which in turn are to be sent to Brenner. Costley returns the sketches to Finlay who is satisfied with the revisions. These sketches are fowarded to Brenner with explanations. The poems in English, German, French and Latin now include Ark, Arc, Sails/Waves, Wave, Mare/Terra, Star/Steer, Wave/Rock, Homage a Seurat, Land/See, Schiff, The Colour Of The Vowels, Unda, Wolke, Aither/Or, Weathercock, and Windflower. In July 1973, Brenner indicates that sculpture must be integrated into the communication system of the building and Finlay fowards this information to Costley. Finlay also mentions his dispute with Scottish Art Council and the Fulcrum press and his nomination by Jandl for a prize. In Nov 1973, Finlay explains new sketches for new works based upon a meeting with Brenner & Buchwald, the German architects, in Stonypath, viz., Weathercock, Revolving Door, The Stairs, Island, and variation on Sails/Waves (confirmed by Brenner). Finalization of plans for installation, fees, and meetings with architects take place from Nov 1973 to Nov 1974. Neusal is selected to execute Finlay sculptures. Costley provides additional sketches and explanations. Finlay indicates that Neusal is not capable of executing from the sketches in terms of relating materials with the landscape siting and needs help with rendering the sketches into actual materials. Brenner proposes a fee to Finlay (& Costley) to pay for the design and working drawings; Neusal will receive a fee for the sculpture. From Nov 1974 to March 1975, the correspondence deals with fee negotiations, contracts, and selections from the idea list for the sculptures to be executed by Neusal for the garden. These include Windflower, Sails/Waves, Hic Jacet, Unda, and Homages to Bill & Malevich. From Apr to Dec 1975, other works are discussed, viz., Max Planck constant, Schiff, Cloud, Wolke, and Weathercock. From 1977-1978, there is an exchange of letters centered on an exhibition and catalog of the Stuttgart commission. The photocopied sheets and blue prints (by Costley?) deal with the siting and drawings for the sculptures that include The Colours of Vowels, Arl/Arc, Sails/Waves, Star/Steer, Wolke, Homage to Seurat, Weathercock, Land/Sea, Unda, Wave, & Max Planck Constant. Three architectural blueprints of the Max Planck site were done by Brenner & Partner, the largest one measuring 98cm x 168cm. TheArchive includes photocopied drawings for "Wolke" and "Schiff" as well as a glass slide of the latter presented as a sculpture. The photocopied pages are a reprint of an article dealing with the Max Planck Institute installation from a book entitled, "Sculpture in the Landscape." The four drawings by Costley in free-form lettering were done in actual size for the Sails/Waves, Unda, Schiff and Wolke sculptures. The largest drawing, "Wolke" measured 172cm x 103cm. -- Source of annotation: Marvin or Ruth Sackner.