ARCHIVEGRID

A municipality may provide and lease buildings within the city limits (See Ala. Code 11-56-2 [1975]). To assist in recordkeeping, the municipality keeps blueprints, plans, and maps of commercial property. This series consists of architectural and/or engineering drawings of commercial buildings. The plans are checked for Standard Building Code compliance prior to onset of construction and consulted by inspectors during all building phases

Contains drawings, photographs, correspondence, writings, newsclippings, scrapbooks, and a cash book, relating to Polk's career, his involvement in the architectural profession, and his interest in the civic improvement of San Francisco. Project-related records consist primarily of architectural drawings, many created under the firm of Daniel Burnham. These include plans, elevations, detail and perspective drawings for projects such as the Pacific Union Club, the Merchants Exchange Building, and other commercial and residential structures throughout the Bay Area. Also contains art, artifacts, and furniture created by Polk or kept in his office. Materials dating after Polk's death were created or collected by his widow, Christina Barreda Polk

Contains correspondence, drawings, and a few photographs documenting Merchant's personal and professional life, with the bulk of the collection relating to the Golden Gate International Exposition (GGIE) held in 1939 in San Francisco, California. Records of the GGIE include correspondence, reports, drawings, financial records, articles, blueprints and meeting minutes concerning exposition comittees and buildings. Also includes minimal correspondence with Bernard Maybeck

The Ernest J. Kump, Sr. Collection spans the years 1914 to 1939, and includes drawings created by Kump and his firm documenting projects throughout his career. The collection is organized into two series, Personal Papers and Project Records, and contains drawings and specifications

The Donald L. Hardison Collection spans the years 1936-2003, and includes files created by Hardison and his firms. The collection is organized into four series: Personal Papers, Professional Papers, Office Records, and Project Records that cover Hardisons career including his education, professional interests and involvement with associations, and architectural practice. Hardison is known for designing churches, multi-family housing, and water treatment plants throughout the Bay Area, though many of the projects in this collection are focused within Richmond, CA. Well-documented projects include Easter Hill Village (1950-1954), UC Berkeley Student Union (1958-1961) and Zellerbach Hall (1962), in collaboration with Vernon DeMars

The SMWM collection consists of manuscript materials (project files, marketing materials, correspondence, meeting notes, final reports, notebooks, etc.), drawings, photographs (including slides and photographs), and born digital items created by the design firm SMWM

Project files, including architectural drawings (on linen and tissue, and blueprints), specifications, and correspondence. Includes several files relating to projects done for the University of California, Berkeley

Comprised of project records, sketches, and drawings for the residential, educational, humanitarian, and commercial buildings Morgan designed. Includes commissions from William Randolph Hearst and designs for Young Women's Christian Association buildings. Contains records of her many residential designs as well as other projects including St. John's Presbyterian Church, the Berkeley Women's City Club, and the Phoebe Hearst Memorial Gymnasium at the University of California, Berkeley

The limited Office Records consist of correspondence, public relations material, and two notebooks containing notes and sketches related to individual projects. The bulk of the collection is comprised of Project Records including drawings, limited documentation, and photographs for a small number of projects

The Professional Papers contain biographical material, files related to awards, travel, and Ciampi's participation in the 1959 architects creativity study conducted by U.C. Berkeley's Institute for Personality Assessment & Research. The Office Records consist primarily of publicity materials such as tear sheets and clip files of Ciampi's work. Reference files related to specific aspects of the San Francisco Downtown Plan are also included in this series. The Project Record Series contains a disappointing assortment of pieces such as a few mounted drawings of his ideas for San Francisco's Yerba Buena Center and Ferry Plaza/Embarcadero, printed planning reports, and a few drawings for projects such as S.F. Union Square, the Berkeley Art Museum, and Yerba Buena Center. Fortunately the records contain photographs and slides that present a more comprehensive view of Ciampi's important early work with public schools and churches