Throughout this past spring and summer, I’ve been arranging and describing the recently donated papers of designer and architectural educator Ken Isaacs. Isaacs was an Academy of Art design student and faculty alumnus–his Superchair and a film by Barbara Isaacs are currently featured in the With Eyes Opened exhibit at the Art Museum and in the beautiful new book of the same title. Organizing his papers to ready them for researchers has led my learning about the environments Isaacs designed as well as the larger environments he navigated. These include Cranbrook, Manhattan, Chicago, and the rural acres of Groveland, Illinois where he designed and built a village of stylish, portable Microhouses, predating the current Tiny House movement by decades.
For example, while completing his MFA at Cranbrook from 1952-1954, Isaacs redesigned the interior of The Little Gallery, founded by Peggy DeSalle in neighboring Birmingham in 1949. DeSalle was a great supporter and benefactor of the Cranbrook community and the lead donor and namesake of Cranbrook Art Museum’s DeSalle Auditorium, so how wonderful to get a peek at The Little Gallery’s early years through Isaacs’ papers. I learned DeSalle was once married to Cranbrook President Zoltan Sepeshy, though long before Isaacs came to study here. I also learned, thanks to one of Isaacs’ presentation boards, that Peggy’s second husband and lifelong partner, Albert DeSalle, bought a 1955 couch Isaacs designed of steel and canvas.
During those same years, Ken Isaacs built the 18-foot-long, seven-foot-tall Matrix Drum environment. This large structure with its curving wall of graphic, black and white collage was stored here on campus until Zoltan Sepeshy persuaded Isaacs to return as faculty. (No wonder Isaacs was still on Sepeshy’s mind, having left a work larger than a Buick Roadmaster on the president’s turf).
I’ve recently foldered letters back and forth from Isaacs and Sepeshy. Their correspondence is a study in contrasts: Isaacs’ design stationery is mid-century modern with simple shapes in bold primary colors; one of Sepeshy’s handwritten notes has elegant, looping script that stands out against typed missives. They negotiated that Isaacs would retain and commute to his New York City design offices from Bloomfield Hills. The arrangement worked, for a while. The contract for the 1956-1957 school year included a residence for Ken and Barbara Isaacs in the “apartment in Guest House” on Academy Way and Isaacs headed the Design department from 1956 to 1958.
Back at Cranbrook, photographs show Isaacs’ reuse of his Matrix Drum structure as a collaborative art project with Academy students who helped to collage its black and white pholage exterior. His notes detail how he redesigned the first Academy year to include field trips and visiting experts. They also explain how students designed a multimedia, immersive Matrix Drum lesson about the American Civil War using multiple slide projectors and moving pallets for participants to sit upon.
These are a few curiosity-rousing items in the Ken Isaacs Papers, from just his time at Cranbrook, with plenty more boxes of his writings and images left to go through. I’ll confess, his papers make it a real challenge for me to stay on task with processing duties, when there are so many things I want to know more about. Stay tuned for further finds!
– Meredith Counts, Archives Assistant, Center for Collections and Research