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The Juilliard School
NEW ISSUE — BOOK-ENTRY ONLY Ratings: Moody’s: Aa2 S&P: AA See “RATINGS” herein In the opinion of Orrick, Herrington & Sutcliffe LLP, Bond Counsel, based upon an analysis of existing laws, regulations, rulings and court decisions, and assuming, among other matters, the accuracy of certain representations and compliance with certain covenants, interest on the Series 2018A Bonds (as such term is defined below) is excluded from gross income for federal income tax purposes under Section 103 of the Internal Revenue Code of 1986. In the further opinion of Bond Counsel, interest on the Series 2018A Bonds is not a specific preference item for purposes of the federal alternative minimum tax. Bond Counsel is also of the opinion that interest on the Series 2018A Bonds is exempt from personal income taxes imposed by the State of New York or any political subdivision thereof (including The City of New York). Bond Counsel expresses no opinion regarding any other tax consequences related to the ownership or disposition of, or the amount, accrual or receipt of interest on, the Series 2018A Bonds. See “TAX MATTERS” herein. $42,905,000 THE TRUST FOR CULTURAL RESOURCES OF THE CITY OF NEW YORK Refunding Revenue Bonds, Series 2018A (The Juilliard School) The Refunding Revenue Bonds, Series 2018A (The Juilliard School) (the “Series 2018A Bonds”) will be issued and secured under the Revenue Bond Resolution (The Juilliard School), adopted by The Trust for Cultural Resources of The City of New York (the “Trust”), as of March 18, 2009, as supplemented, including as supplemented by a Series 2018A Resolution Authorizing not in Excess of $50,000,000 Refunding Revenue Bonds, Series 2018A (The Juilliard School), adopted by the Trust on October 11, 2018 (collectively, the “Resolution”). -
Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art
Graphicstudio: Uncommon Practice at USF at Tampa Museum of Art “Graphicstudio: Uncommon Practice at USF” is the most ambitious and comprehensive show to feature works from the workshop since the survey exhibition of the early years of Graphicstudio at the National Gallery of Art in Washington D.C. in 1991. The exhibit features forty-five years of more than 110 original works by an international array of 45 of the 108 artists who have worked in residence at Graphicstudio. On view February 1 through May 18, 2014, this exhibition was co-organized by the Tampa Museum of Art and the USF Contemporary Art Museum and curated by Jade Dellinger. Highlighting both technical and conceptual breakthroughs, the exhibition includes seminal works spanning Graphicstudio’s forty-five year history (by Robert Rauschenberg, Jim Rosenquist, Ed Ruscha, Allan McCollum, Louise Bourgeois, Jim Dine, and others) with some of its most recent collaborative endeavors by (Christian Marclay, Mark Dion, Teresita Fernández, Los Carpinteros, and Trenton Doyle Hancock). According to Margaret Miller, the Director of Institute for Research in Art – Contemporary Art Museum and Graphicstudio, the exhibition is an opportunity for viewers to see a survey of works that represent leading international artists and affirms that printmaking is a primary medium for many contemporary artists. The exhibition chronicles several aesthetic and technical conversations among artists of different generations. Often times, it is the invention of a new technology that transfixes the artists in residence. As former director, Alan Eaker noted, “It has always been the primary concern of Graphicstudio to make art that was phenomenal and along the way develop the technology to accomplish it.” Founded in 1968 as a non-profit, university-based, collaborative art making facility, Graphicstudio remains unique in its commitment to aesthetic and technical research in the visual arts. -
ARTIFACTS University of Washington / Seattle USA Autumn 2008
ARTIFACTS UNIVERSITY OF WasHINGTON / SEATTLE USA AUTUMN 2008 SCHOOL OF ART DIVISION OF ART / DIVISION OF ART HISTORY / DIVISION OF DESIGN Welcome to the new Artifacts If you are holding this newsletter in your hands, The online version includes the material in the the change of format is obvious. What once was printed newsletter, but it also has all the other ma- tabloid is now letter size. This switch has hap- terial you have come to look forward to: faculty, MORE ONLINE pened for two reasons. One is that we want to staff, and student news; an article about our study by going to the newsletter now make Artifacts available online, and letter abroad programs; alumni notes; photos; and small link at : art.washington.edu size documents fit this format better. The second articles about past and future activities and achieve- reason involves economics and ecology. We must ments. Please let us know what you think of the • Alumni Notes spend less on the newsletter in order to preserve new format, both paper and online, by emailing [email protected]. • Transitions in the SoA funds for other needs, so we are printing both a smaller size and fewer pages. This, of course, also • Study Abroad A link to the online newsletter is at the top of every uses less paper. web page on the SoA website: • Faculty News The printed version of Artifacts will now typically And much more! art.washington.edu contain the notes from the director, the calendar of upcoming events, and our acknowledgement of donors. It will regularly be sent to our donors and SUPPORT the parents of current students. -
Newsletter the Society of Architectural Historians
NEWSLETTER THE SOCIETY OF ARCHITECTURAL HISTORIANS AUGUST 1971 VOL. XV NO.4 PUBLISHED SIX TIMES A YEAR BY THE SOCIETY OF ARCHITECTURAL HISTORIANS 1700 WALNUT STREET, PHILADELPHIA, PA. 19103 JAMES F . O'GORMAN, PRESIDENT EDITOR: JAMES C. MASSEY , 614 S. LEE STREET, ALEXANDRIA, VIRGINIA 22314 .. ASSOCIATE EDITOR: MRS. MARIAN CARD DONNELLY, 2175 OLIVE STREET, EUGENE, OREGON 97405 SAH NOTICES ORGANIZATIONS Domestic Tours. 1972, H.H. RICHARDSON, HIS CON APT. The Association for Preservation Technology will TEMPORARIES AND HIS SUCCESSORS IN BOSTON AND hold its third General Meeting September 30-0ctober 3 at VICINITY, August 23-27 (Robert B. Rettig, Chairman); Cooperstown, N.Y. SAH member Harley J. McKee is Pres 1973, PHILADELPHIA; 1974, UTICA, NEW YORK and ident. For information and membership ($1 0), write Meredith vicinity. Sykes, Box 2682, Ottawa 4, Ontario, Canada. Foreign Tour. 1972, JAPAN (Bunji Kobayashi, Chairman National Trust. The Trust's Annual Meeting and Preser and Teiji Ito, Co-Chairman). Announcements will reach vation Conference will be in San Diego, California October the membership in the United States and Canada on or 28-31. There will also be a regional preservation con r about September 1, 1971. ference in New Orleans October 15-16. For information 1972 Annual Meeting. San Francisco, January 26-30. address the National Trust for Historic Preservation 740-8 Group Flights : Thirty affirmative responses have been Jackson Place, N .W., Washington, D.C. 20006. received for the Wednesday, January 26 flight New York SAH-GB. The 1971 Annual Conference will be held San Francisco-New York (25 are required); but only 16 re September 10-12 at the University of St. -
The Radio Urbanism of Robert C. Weinberg, 1966–71 by Christopher Neville for the New York Preservation Archive Project
“Building and Rebuilding New York:” The Radio Urbanism of Robert C. Weinberg, 1966–71 by Christopher Neville for the New York Preservation Archive Project “...This is Robert C. Weinberg, critic-at-large in architecture and planning for WNYC.” Introduction: Robert Weinberg, Department of Parks (under Robert Moses), New York City, and WNYC and at the Department of City Planning. Robert C. Weinberg was an architect and urban planner active in New York from the He taught courses in planning and related early 1930s until his death in 1974. Over four fields at New York University, the Pratt Insti- decades of vigorous engagement with preser- tute, the New School for Social Research, and vation and planning issues, he was both an ac- Yale, and published roughly 150 articles and tive participant in or astute observer of almost reviews. He was also the co-editor, with every major development in New York urban- Henry Fagin, of the important 1958 report, ism. Between 1966 and 1971, near the end of Planning and Community Appearance, jointly his career, he served as radio station WNYC’s sponsored by the New York chapters of the “critic-at-large in architecture and planning,” American Institute of Architects and the and his broadcasts are a window onto his re- American Institute of Planners. markable career and the transformations he But over his long career, Weinberg devoted witnessed in the city he loved. Weinberg’s the bulk of his considerable energies to a long personal history in the trenches and be- broad range of public-spirited efforts covering hind the scenes gave him unique perspective almost every aspect of urban development and on these changes—an insider’s overview, with city life, including historic preservation, zon- a veteran’s hindsight. -
THE Ambrkian Arciiitectcrat' Fotjndatlon
THE AMBRKiAN ARCIIITECTCRAt' FOtJNDATlON "That Exceptional One: Women in American Architecture, 1888-1988" is organized and circulated by the American Architectural j Foundation and the AIA Women in Architecture Committee. The exhibition will premiere on • May 15,1988, at die AIA National Convention | and Design Exposition in New York City before traveling nationwide during its three-year tour. The American Institute of Architects, founded in 1857, is a voluntary not-for-profit member- i ship organization representing more than 54,000 architects and architectural profession- i als in nearly 300 state societies and local chapters stretching from Maine to Guam. The mission of the American Architectural ] Foundation, the publicly oriented arm of the ( AIA, is to advance the quality of American j architecture by stimulating the public's aware- ness and understanding of architecture and its related arts. "I cannot, in whole conscience, recommend architecture as a profession for girls. I know some women who have done well at it, but the obstacles are so great that it takes an exceptional girl to make a go of it. If she insisted on becoming an architect, I would try to dissuade her. If then, she was still determined, I would give her my blessing—she could be that exceptional one." Pietro Belluschi, EilA, 1972AIA Gold Medalist, from the 1955New York Life Insurance Company brochure, "Should You Be an Architect?" Contents 5 A Message from the President of The American Institute of Architects 6 A Message from the Chair of the AIA Women in Architecture Committee 7 Preface 9 "That Exceptional One: Women in American Architecture, 1888-1988" 27 AIA Archive of Women in Architecture 41 Selected Bibliography WHHW A Message from the President of The American Institute of Architects The American Institute of Architects is priv- past decade alone, reflecting the priority placed ileged to sponsor this major national exhibi- by the AIA to breaking down once and for all tion on the history of women in architecture. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
National Register of Historic Places Inventory -- Nomination Form
Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS I NAME HISTORIC Third Judicial District Courthouse (Jefferson Market Courthouse) AND/OR COMMON Jefferson Market Branch New York Public Library LOCATION STREETS NUMBER Sixth Avenue at 10th Street (425 Sixth Avenue) _NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRICT New York VICINITY OF 19th STATE CODE COUNTY CODE New York CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT .X.PUBLIC X2PCCUPIED —AGRICULTURE —MUSEUM X-BUILDINGIS) —PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS ^.EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE _ENTERTAINMENT —RELIGIOUS —OBJECT _IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED X_YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER: [OWNER OF PROPERTY NAME City of New York, Mayor Abraham D. Beame STREET & NUMBER City Hall CITY. TOWN STATE New York VICINITY OF New York 10007 LOCATION OF LEGAL DESCRIPTION COURTHOUSE. New York County Hall of Records REGISTRY OF DEEDS, ETC. STREET & NUMBER 31 Chambers Street CITY. TOWN STATE New York New York REPRESENTATION IN EXISTING SURVEYS TITLE Historic American Buildings Survey DATE June 1968 X3FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Library of Congress CITY. TOWN STATE Washington D.C. 25 DESCRIPTION CONDITION CHECK ONE CHECK ONE ^.EXCELLENT _DETERIORATED _UNALTERED X_ORIGINALSITE _GOOD _RUINS 2LALTERED _MOVED DATE. _FAIR _UNEXPOSED DESCRIBETHE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Jefferson Market Courthouse was designed under the firm name of Withers and Vaux (Frederick Clarke Withers and Calvert Vaux) but is the work of Withers executed between the years 1874 to 1877. -
George Howe and Modern Architecture
Travel, Architects, and the Postwar “Grand Tour” By: Denise Costanzo An American architect observed in an essay that “it is a physical impossibility to transport buildings as one does paintings. Therefore, to experience the dome of the Cathedral of Florence by Brunelleschi or the apse and dome of St. Peter’s by Michelangelo, one must be within the space itself.” To assert architecture’s inherent immobility and three-dimensionality is largely uncontroversial, but the next sentence is more contentious: “Architects, in order to explore the problems of contemporary architecture, must necessarily have a specific cultural background which should qualify them for an appreciation of the valid works of the past.”1 Taken together, these axioms require architects to recognize the authority of select historic monuments and to absorb their lessons through direct phenomenal experience. It seems only proper that such statements come from a fellowship application to the American Academy in Rome, established in 1894 to buttress the fin de siècle classical revival known as the “American Renaissance.”2 But this essay dates to 1960, when seeing and venerating history firsthand was not such an obvious requisite for architects. Its author, Michael Graves, is now a household name thanks to his populist high-design products for Target stores (fig. 1). As an architect, he is best known for his historically allusive works of the 1970s onwards. His prominent career has contributed to the reputation of the post-World War II Academy as an ‘incubator’ of postmodern historicism, a category in which he is generally included by critics.3 However, when Graves visited Rome in 1960 he was not a “proto- postmodernist,” but a modernist. -
Pietro Belluschi Collection, 1927-1983
Pietro Belluschi Collection, 1927-1983 Overview of the Collection Creator Belluschi, Pietro, 1899- Title Pietro Belluschi Collection Dates 1927-1983 (inclusive) 19271983 Quantity Approximately 23,300 architectural drawings, ((186.5 linear ft.)) 360 photographic prints, ((25.5 linear ft.)) : b&w and col. 1 negative : col. 14 works of art , ((5 linear ft.)) 14 boxes of records , ((5.5 linear ft.)) Collection Number Coll 2 (collection) Summary The collection is a comprehensive representation of the work of Pietro Belluschi (1899-1994), an important twentieth century American regionalist and modernist architect. The collection consists of architectural drawings (1931-1983) including details, elevations, perspectives, plans, sections, sketches, tracings, blueprints, and photostats, as well as photographs, works of art , and records (1927-1983). Repository Oregon Historical Society, Davies Family Research Library Davies Family Research Library Oregon Historical Society 1200 SW Park Avenue Portland, OR 97205 Telephone: 503-306-5240 Fax: 503-219-2040 [email protected] Access Restrictions The collection is open to the public. Special arrangements must be made in advance to view this collection (except photographs) because the materials other than photographs are stored off site. Biographical Note Pietro Bellsuchi (1899-1994) was an internationally famous and prolific American architect whose career spanned more than 65 years. Categorized as a regionalist and modernist architect, Belluschi claimed to have designed more than 1,000 buildings during his lifetime. He was born in Ancona, Italy, to a middle-class family, served in the Italian Army and was decorated for bravery during World War I, attended the University of Rome, and in 1923 immigrated to the United States. -
2001 Media Guide
Digital Commons @ George Fox University Men's Basketball George Fox University Athletics 2001 2001 Media Guide George Fox University Archives Follow this and additional works at: https://digitalcommons.georgefox.edu/athletics_menbasketball Recommended Citation George Fox University Archives, "2001 Media Guide" (2001). Men's Basketball. 79. https://digitalcommons.georgefox.edu/athletics_menbasketball/79 This Media Guide is brought to you for free and open access by the George Fox University Athletics at Digital Commons @ George Fox University. It has been accepted for inclusion in Men's Basketball by an authorized administrator of Digital Commons @ George Fox University. For more information, please contact [email protected]. GEORGE FOX UNIVERSITY T HE UNIVERSITY T HE AR E N A THE UNIVERSITY schools in the West with "Pacific" in their title, plex is the University's largest building. It con George Fox University, an evangelical the name was changed to George Fox College, tains the James and Lila Miller Gymnasium, the Christian liberal arts college, is expanding, honoring the founder of the Friends (Quaker) Bruins' home court. The center features a 116- both in size and in reputation. Enrollment has Church. by 174-foot gymnasium with three full-length more than quadrupled in the last 15 years, In 1996, with the addition of Western basketball courts, three volleyball courts, and increasing from 549 in 1986 to 2,648 in the fall Evangelical Seminary, George Fox became a 10 badminton courts. The ceilings are 32 feet of 2001. university, offering students a Christ-centered over the hardwood maple floor. The total seat Sincel986, George Fox has been named education and the choice of 35 undergraduate ing capacity is 2,750. -
INDIVIDUAL INTERVIEW the Reminiscences of Giorgio
INDIVIDUAL INTERVIEW The Reminiscences of Giorgio Cavaglieri © 2003 New York Preservation Archive Project PREFACE The following oral history is the result of a recorded interview with Giorgio Cavaglieri conducted by Interviewer Annette Rosen in 2003. This interview is part of the New York Preservation Archive’s Project’s collection of individual oral history interviews. The reader is asked to bear in mind that s/he is reading a verbatim transcript of the spoken word, rather than written prose. The views expressed in this oral history interview do not necessarily reflect the views of the New York Preservation Archive Project. An architect who has been credited as New York’s first preservationist, Giorgio Cavaglieri pioneered the adaptive reuse of historic structures in the 1950s, designed the renovation of the Jefferson Market Courthouse into a public library, and served as president of the Municipal Art Society from 1963 to 1966. In this brief 2003 interview conducted by Annette Rosen, Cavaglieri discusses the role of the Municipal Art Society in the protests against the demolition of Pennsylvania Station. Giorgio Cavaglieri was a prominent Italian-American architect and advocate for historic preservation. After opening a private practice in New York after World War II, Cavaglieri was a trailblazer in the practice of adaptive reuse. Among Cavaglieri’s most famous restoration projects are the Jefferson Market Library, the New York Shakespeare Public Theater, historic structures on Roosevelt Island, and the Delacorte Theater in Central Park. Cavaglieri was engaged with New York’s architectural community, acting as a forceful advocate for saving historical buildings across the city.