 Neutra introduced first European modernism and the California climate afforded him the opportunity to design blurring the boundary between indoors and outdoors. He loved the idea of harnessing new technologies on behalf of every woman, every man, should be able to have access to great architecture. The Neutra collection was given to us by Richard Neutra in about 1957, 1956, thereabouts. Over the years, since then, he's given us more material. His wife Diona, his son Dion, and most recently his son Raymond has given us material. So it's been building up over the years. Why would you take Neutra? Because his buildings are all over Southern California and UCLA is an important research institution in Southern California and more to the point it's open to the public. I was asked to write a little book on Neutra for caution. So that led to about two and a half years of almost five or six days a week coming here to do research. I have visited UCLA library special collections probably between 600 and 800 times, maybe more. We have photographs mostly 8x10s but we also have a lot of slides and negatives. We also have the job files which are mostly the correspondence between the owner and the architect and also between the architect and all the various subcontractors and contractors who are building the house so you can work your way down to what they actually built. We are entrusted with the physical care of all the collections and they come in all formats. Here in the preservation department we collaborate with people all over the library to make sure that we're preventing damage and preserving the material as long as possible. It's hard to predict what can be done with access to an archive like this. Journalists, practicing architects, historians of a number of different domains will find important material here. So having this amazing archive available on an ongoing basis is really important. Part of the collection that I'm rehousing was part of the 1998 accrual that came to UCLA. Large rolled blueprints, renderings, drawings, which I think is some of the most interesting stuff and what people really want to see, right? Like when you think of an architectural archive you're wanting to look at the blueprints and the drawings. So the work I did on the Neutra models, and we'll just talk mostly about the Tremaine house, was work to make them interpretable in an exhibit. So this is different than in a reading room where a researcher comes in with a particular question in an exhibit, it's the totality of the object that has to sort of resonate. And I was just trying to get rid of distractions, like a tree falling down or a huge stain on the roof. Coming in to see the Neutra collection you get a much better idea of what the architect was working with, his thought process, how he came by, what the end product was. The UCLA library's task before them relates to both cataloging, restoring and digitizing this material. And this has been done on 3,000 linear feet, but there's another 5,000 to go with an estimated 9,000 person hours of effort. You have to engage with primary sources, with Neutra and having access to primary sources that really informed the direction of my beliefs, and it really led me home.