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Architectural drawings, specifications, manuscripts, printed materials, photographs, ephemera, collected by Hitchcock, and relating to the work of architects Henry Hobson Richardson and Frank Lloyd Wright, including a letter, 1940, from Wright to Hitchcock suggesting the writing of IN THE NATURE OF MATERIALS; the architectural firm Shepley, Rutan, and Coolidge; furniture designer Charles Rennie Macintosh; and miscellaneous and unidentified architects dating from the sixteenth century to the twentieth century, with the bulk dating from the nineteenth century.

The collection is made up of Katherine C. Moore's research files on the careers of Trowbridge and Livingston. The files include Moore's notes, clippings, and sometimes photographs of the buildings designed by the firm. Projects that have photographs include, among others, Bankers Trust Company Building, the Banking House for J.P. Morgan & Co., Chemical National Bank, Empire City Savings Bank, Bank of America (Wall Street), Equitable Trust Building, Gulf Refining Building (Pittsburg, PA), Mellon National Bank (Pittsburg, PA), Nagoya Branch of the Mitsui Bank (Tokyo, Japan), Red Cross Memorial to the Women of the Civil War, and the John B. Trevor Residence (11 East 91st Street, NYC). The collection also includes certificates and diplomas of Goodhue Livingston, as well as a 1994 certificate of commendation from BELCA (Building and Equipment Life Cycle Association) for the Mitsui Bank in Tokyo, Japan; an issue of "The Architects and their Works" (Vol. 1, No. 4) on Trowbridge & Livingston dated 7 Nov 1908; and 10 architectural drawings for the Residence of Orme Wilson, Jr. Esq. on 11 East 64th Street (New York, NY).

This small collection contains primarily project records--including drawings, files, reports, correspondence, and photographs--related to the architectural practice of Kenneth Coles. The majority of projects, including commercial, institutional, and residential, are located in New York State, with a few commissions for Citibank and Grindlay's Bank and for private residences located overseas.

Included is Cox's correspondence, circa 1880 until his death in 1919, with architects, painters, sculptors, and writers including Bernard Berenson, Edwin Howland Blashfield, Will Hicock Low, John La Farge, Henry Oliver Walker, H. Siddons Mowbray, Theodore Robinson, Elliott Daingerfield, Lucia Fairchild Fuller, Howard Pyle, William A. Coffin, Russell Cowles, Daniel Chester French, Irving R. Wiles, James Monroe Hewlett, Harry Wilson Watrous, Edward R. Simmons, Maxfield and Stephen Parrish, Augustus Saint-Gaudens, Louis Saint-Gaudens, John C. Van Dyke, Wendell P. Garrison, Richard Watson Gilder, Robert Underwood Johnson, the architectural firm of McKim, Mead & White, Stanford White, Charles F. McKim, Cass Gilbert, Charles Adams Platt, and others. Of note are 136 from Cox to lawyer and author Leonard E. Opdyke. Correspondence, circa 1870-1922, with family members, particularly his father, Jacob Dolson Cox (a Union officer), his mother, Louise Howland King Cox (a painter), and his brother Jacob Dolson Cox, Jr. (a Cleveland industrialist and founder of the Cleveland Twist Drill Company). Correspondence of various other family members either among themselves, beginning circa 1860, or with Kenyon Cox is included. Also, manuscripts of Cox's essays, addresses, articles, and other writings on art, circa1870-1919; poetry; and juvenilia.

This collection contains primarily correspondence related to Peisch's Ph.D. thesis on the work of Chicago architects associated with the Prairie School movement. Much of the material is about Walter Burley Griffin and Marion Mahony Griffin's work in the United States and Australia and includes letters from and about Marion Mahony Griffin, Francis Barry Byrne, William Gray Purcell, William L. Steele, and George Grant Elmslie. The collection also includes some photographs, clippings, lectures, and papers related to the later publication of Peisch's thesis in book form as "The Chicago School of Architecture: Early Followers of Sullivan and Wright" (New York : Random House, 1964). Lastly, the collection contains a small number of reference files, some gathered long after the completion of Peisch's thesis.

This small collection contains primarily photographs, supplemented by a very few architectural drawings, specifications, and reference materials related to the projects and designs of Bertram Grosvenor Goodhue and his successor firm, Mayers, Murray & Philips, in the New York City region and in other locations in the United States. It also includes reference materials and a photograph of Betram Goodhue's New York City office.

This collection contains materials related to a full range of Blake's personal, professional, and academic lives. The bulk of the collection dates from the 1980s through the early 2000s. His professional and faculty papers document many of his interests, and primarily include published and unpublished lectures and articles. Although Blake delivered his lectures at various architectural schools in the United States and abroad, the specific locations of the lectures are not usually recorded on the documents. In addition, many articles he wrote for publication appear as annotated typescripts. There are also significant papers related to publication of his memoir No Place Like Utopia (Knopf, 1993), including correspondence and some production records. Throughout the professional and faculty papers are also found a large number of reference files relating to modern architecture, art, design, urbanism, technology, and current events, compiled over many decades. The collection also contains correspondence with personal friends, clients, and professional and academic colleagues. There is an especially significant amount of correspondence and clippings related to Patwant Singh, a Sikh writer, commentator, journalist, editor, and publisher, with whom Blake was a close friend. There are also many materials including correspondence, typescripts, and book production records related to Philip Johnson and Paul Rudolph, with whom Blake was also close. Architectural project records include original and reprographic drawings and photographs for 40 residential and institutional designs, located primarily in New York City and the surrounding region. Of particular note are drawings and papers related to Blake's important Pin Wheel House (1954) in Water Mill, New York. In addition, there are drawings related to the American National Exhibition in Moscow (1959). Finally, there is a significant number of drawings, photographs, and correspondence related to the Benjamin Gerson Residence (1999-2003) in Johnsonburg, New Jersey, one of Blake's last architectural projects.

This collection contains materials related to Chermayeff's personal, professional, and academic lives, the bulk originating during his residency in the United States, beginning in the late 1930s. Project records document the full range of his work, including many records from his British period. The collection also contains extensive correspondence with personal friends, clients, and professional and academic colleagues.