William Morris discusses how Pilchuck set standards for studio glass equipment. Oral history interview with William Morris by Catherine Whalen and Barb Elam, conducted via telephone, June 2, 2016, Bard Graduate Center. Clip length: 01:24.

William Morris: Because of Pilchuck, we had this pool of resources, of talent and knowledge that came from all over the world. And so the core, the crew—you spent a summer at Pilchuck and you brought in artists from all over the world, best glass artists in the world, you brought ‘em in. You had to work directly with them and you would go visit them at their facilities around the world, and you had a really highly absorbing group of information. And then we’d all come together at Pilchuck and we’d work and we’d figure this stuff out. So we had a unique situation because we had such a constant resource of talent and knowledge coming into the school all the time. And that’s one of the reasons why we would get invited. And no other facility had as much base as we did. So that’s why we would—let’s put it this way: if you walk in any glass shop anywhere in the world now, the standard that you’ll see, that people use, the equipment, all the stuff, it all came from us. Glory hole construction, bench height, torches, all that stuff—we did it all. And it was pretty much developed by myself and Jon Ormbrek during the Chihuly era; throughout the eighties, that’s when things got really refined.