Scope and Contents 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....

Scope and Contents

The cards deal with building scaffolds. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This work is based upon a design by the Elizabethan architect, Inago Jones. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book depicts Kriwet's architectural commissions in public spaces both within buildings and outside them. Several involve light or neon formed concrete poetic pieces. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book depicts Kriwet's architectural commissions in public spaces both within buildings and outside them. Several involve light or neon formed concrete poetic pieces. -- Source of annotation: Marvin or Ruth Sackner.

Abstract

Architect of Davenport, Iowa. These are architectural drawings, and they are not really organized, but they are not exactly unprocessed either. They are kept in three large-size wallet type folders. They are candidates for presesrvation.