Donlyn lyndon biography of martin luther king
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On a recent Sunday I returned to the campus of Stanford University. Although I did not attend this famous western house of learning, I felt as if I grew up here. Indeed the campus is in my bloodlines.
My father graduated from Stanford in , at time when the Farm was more affordable and you didn&#;t need an outrageous GPA to be accepted. This may have been considered a betrayal because my grandfather attended Cal (University of California at Berkeley), Stanford&#;s bitter rival. (The previous day Stanford defeated Cal in the &#;Big Game&#; ).
My parents were married at the Memorial Church on August 3, and they settled just south of the campus in The Valley of Heart&#;s Delight among the apricot and cherry orchards in Sunnyvale. This area would be transformed, it&#;s orchards yielding to concrete, and the area would be rechristened &#;Silicon Valley&#;.
My father would bring my younger brother and I to Stanford football scrimmages and sometimes a baseball game. I loved the Stanfo
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THE HISTORY OF THE DEPARTMENT OF ARCHITECTURE, UNIVERSTIY OF OREGON, EUGENE, OREGON
by
Michael J. Clark
Onyx Alley
Eugene OR
mclark7@
INTRODUCTION.
SETTING THE CONTEXT
I. THE FIRST AMERICAN ARCHITECTURE
STUDENT
From to , Richard Morris Hunt studied architecture at the Ecole des Beaux-Arts in Paris, and then worked in France upon his graduation. Hunt returned to New York in , fired by his experience, and by his love of European architecture.
Hunt opened an atelier on 10th Street in New York City, and began what Professor Hamlin has described as "the nursery of architectural education in America." He attracted many promising young architects, including William Robert Ware, a graduate of the Lawrence Scientific School of Harvard, and Henry Van Brunt, an architecture scholar.
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This article, bygd Alexandra Lange, originally appeared on Metropolis Magazine as "Architecture's Lean In Moment."
“Women are the ghosts of modern architecture, everywhere present, crucial, but strangely invisible,” writes historian Beatriz Colomina in “With, Or Without You,” an essay in the Museum of Modern Art’s catalog, Modern Women. “Architecture is deeply collaborative, more like moviemaking than visual art, for example. But unlike movies, this fryst vatten hardly ever acknowledged.”
Colomina goes on to chronicle the history of modernism’s missing women, acknowledged, if at all, as working “with” Mies van der Rohe, Le Corbusier, Alvar Aalto, or Charles Eames. To put yourself in the shoes of Lilly Reich, Charlotte Perriand, and Aino Aalto, simply watch the cringe-worthy film of the Eameses on the Home show in ; Ray['s] introduced as the “very capable woman behind him” who enters after Charles has bantered with host Arlene Francis.
This spring, these ghosts came back to haunt us: