Scope and Content of Collection
Title: Claude Stoller collection
Collection number: 2000-14
Environmental Design Archives
Environmental Design Archives
College of Environmental Design
University of California, Berkeley
Physical location: Environmental Design Archives
University of California, Berkeley
Berkeley, California 94720-1820
Languages represented in the collection:
Collection is open for research.
All requests for permission to publish, reproduce, or quote from materials in the collection should be discussed with the
[Identification of Item], Claude Stoller Collection, 2000-14, Environmental Design Archives. College of Environmental Design.
University of California, Berkeley.
Collection was sorted and packed by donor.
Claude Stoller was born and raised in the Bronx, New York where he attended public schools. He enrolled at City College of
New York for a semester while searching for a school with a strong visual arts curriculum. Although he had heard of Black
Mountain College from his brother Ezra Stoller, an architectural photographer, it was at the 1938 Bauhaus exhibition at the
Museum of Modern Art in New York that Black Mountain caught his attention. Although both Moholy-Nagy's New Bauhaus and Black
Mountain College were represented, Black Mountain's sliding tuition scale appealed to Stoller. He applied to Black Mountain
and Cooper Union in New York and was accepted at both. A dinner interview by the ever-charming Xanti Schawinsky, a former
Bauhaus student who had taught at Black Mountain, at a restaurant overlooking the Hudson River helped make the final decision.
At Black Mountain, Stoller took a general curriculum with a focus on art and architecture. He took Josef Albers's basic courses
in design, color and drawing. He also took architectural courses with Lawrence Kocher, Howard Dearstyne, and Lou Bernard Voight.
The architectural program at the time included architectural drafting and courses in Introductory Architecture, Contemporary
Architecture, Introductory Design and Structural Design. For the class in Small House Design, the students designed small
low-cost houses based on a four foot module.
Stoller and another student, Charles Forberg, were put in charge of the construction of the Jalowetz House, a small house
designed by Lawrence Kocher for the Jalowetz family: Heinrich Jalowetz, who taught music, his wife Johanna, and their daughter
Lisa. This involved meetings with Charles Godfrey, a local contractor who was directing the construction of several buildings,
to plan each day's work and the responsibility of directing other students assigned to the project.
At Black Mountain Stoller also explored his interest in photography. Students had set up a darkroom in the basement of Lee
Hall, and although there was no photography teacher, Albers critiqued the work of the student photographers.
Stoller left Black Mountain after the 1942 fall quarter when he was drafted into the United States Army. He had applied for
the Enlisted Reserve in hopes of finishing college but was rejected because he was deaf in one ear. During World War II he
first was in the 14th Coast Artillery on Puget Sound. He then attended army engineering school after which he was sent overseas
with the 13th Armored Division in France and Germany.
In February 1946, Stoller entered Harvard Graduate School of Design where he was accepted with advanced standing despite the
fact he had not graduated from Black Mountain. He recalled that at first he was envious of the more advanced drafting skills
of those who had come through professional undergraduate programs. He soon realized, however, that his courses with Josef
Albers, an excellent physics course with Peter Bergmann, and his practical construction experience at Black Mountain compensated
by far for any deficiency in technical skills which he soon mastered.
After graduation in 1949 (M. Arch.), Stoller studied for a year at the University of Florence in Italy. He and his wife Nan
Oldenburg Stoller (now Nan Black), a Black Mountain student and a graduate of Radcliffe, were joined by Lucian and Jane Slater
Marquis, both Black Mountain students. On his return Stoller worked for architectural firms in the Boston area. In 1955 he
moved his family to St. Louis, Missouri, where he taught at Washington University. While there, he was registered as an architect
in both Missouri and Iowa.
After two years the Stollers moved to the San Francisco area. In 1956, he formed a partnership, Marquis & Stoller Architects,
with another young architect, Robert B. Marquis, the brother of Lucian Marquis. The firm, with its office on Beach Street,
focused on the general practice of architecture and planning including residential, housing, institutional, and governmental
projects. Stoller's use of natural materials in combination reflects both his studies with Albers and his admiration for the
architect Marcel Breuer.
In 1978, Stoller formed Stoller/Partners (later Stoller Knoerr Architects) in Berkeley. Projects included single homes, multiple
dwellings, religious buildings, and institutional and commercial structures. Social issues such as housing and energy-efficient
designs were a primary concern for Stoller, as was historic preservation.
Marquis & Stoller, Stoller/Partners and Stoller Knoerr have received many awards. In 1963-64 Stoller was visiting architect
at the National Design Institute in Ahmedabad, India. In 1968 he was elected to the College of Fellows of the American Institute
of Architects, and in 1991 he was awarded the Berkeley Citation by the University of California. Stoller served on city and
county planning commissions, on an advisory panel for the federal General Services Administration and on several other public
and professional committees. He was licensed to practice in several states and certified by the National Council of Architectural
In 1957 William Wurste invited Stoller to join the faculty in the Department of Architecture at the University of California.
He was acting chairman in 1965-66 and Chair of Graduate Studies from the early 1980s until he retired Professor Emeritus in
As a teacher Stoller always bore in mind Josef Albers's emphasis on "seeing." He considered the development of a sensitive
visual perception to be essential to the education of the architect. A second influence of Stoller's Black Mountain experience
was the value of direct "hands on" experience. To the extent possible within a conventional architectural curriculum, Stoller
used real sites and exposed his students to the manufacturing process of materials through visits to factories. In both St.
Louis and Berkeley, Buckminster Fuller was invited to speak to Stoller's students who built experimental structures.
For one design class at Berkeley Stoller started the Wurster West Workshop, a studio in San Francisco where students could
gain practical experience in planning, construction, and client relationships by working in poor neighborhoods. The major
project for the workshop was the design in a redevelopment area of a square with both commercial space and housing. The square
was designed in cooperation with the San Francisco Redevelopment Agency. The plan used both old buildings to be moved from
other locations along with new buildings designed by the students. Although the square was never constructed, the project
generated an ongoing discussion of urban design and redevelopment issues. Wurster West Workshop was continued by graduate
students who renamed it ARKIS.
In 1965 Stoller started a program called Continuing Education in Environmental Design in collaboration with the University
of California Extension. Several courses were instituted for architecture, planning, landscape architecture and design professionals.
In 1966-67, as the internship component of the program, Stoller founded the pioneering San Francisco Community Design Center,
a response both to student concerns about inequities in housing and community concerns about redevelopment plans. The Center,
located on Haight Street in San Francisco, was started with a Research and Development grant from the University. The Center
became a prototype for other Community Design Centers which brought the skills of architectural interns to poor neighborhoods
where buildings needed remodeling or new construction was possible and where interns worked with "real" clients. In addition
to architects, the program drew on the expertise of other disciplines including psychology, economics, law, and engineering.
The program provided the type of practical experience Stoller had valued at Black Mountain. This was an extension of his teaching
in which he selected specific sites which students visited.
Stoller has retired from active practice except for consulting. His last partner, his son-in-law Mark Knoerr, continues to
practice in San Francisco.
Stoller lives with his second wife Rosemary Raymond Stoller, also a Black Mountain student, in Berkeley and Maine where he
continues his lifelong interest in photography. They inhabit a Julia Morgan House which they restored as well as an old house
and barn on the Maine seacoast which they have been remodeling for many years.
In 2016, the National Historical Publications and Records Commission funded a project to digitize archival materials relating
to the development of The Sea Ranch. The project resulted in a virtual collection published online that can be viewed at
Scope and Content of Collection
The Claude Stoller Collection is comprised of two boxes of material that primarily represent his career as a Faculty member
at UC Berkeley. The bulk of the collection consists of course materials and student work from 1957-1991. Also included in
the collection are reference materials, many of which focus on issues surrounding architecture's social role and teaching
architecture. One of these reference materials utilizes 3-D glasses to explain engineering graphics. There are some faculty
administrative files, and professional papers relating to Stoller's professional projects.
The faculty papers document Stoller's long career as a UC Berkeley professor, and consists of student work from a variety
of Architecture and Environmental Design courses, lecture plans and notes, reference materials for teaching, ideas for course
development, and administrative papers. These files also include drawings and photographs.
The following terms have been used to index the description of this collection in the library's online public access catalog.
Genres and Forms of Material
Mervin Lane Manuscripts, 1987-1989, (PC. 1790), North Carolina State Archives. Correspondence dated August 22, 1988.
R. Buckminster Fuller papers, ca. 1920-1983, (M1090), Stanford University. Libraries. Dept. of Special Collections and University