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Arguing that the University is trying to "comply with the spirit of the housing code" even though it plans to build dormitory rooms seven and a half feet high were Robert T. Holloran, an architect for the firm of Shepley, Bullfinch, Richardson & Abbot; and Henry J. Muller, Deputy Superintendent of Buildings and Grounds...

Author: NO WRITER ATTRIBUTED | Title: Board of Appeals Permits Low Ceilings in New House | 10/23/1957 | See Source »

Construction of the three new buildings climaxed the College's march toward the river. Designed by Bullfinch in American Georgian, they were to avoid standardization, yet give a motley collection of University buildings some sense of continuity. Lowell residents, many of whose quarters are uniquely contorted, claim that President Lowell asked well-known artists to submit paintings of attractive buildings, then, picking out the one he liked best, he told Bullfinch to stick rooms...

Author: By John J. Iselin, | Title: Houses: Seven Dwarfs By The Charles? | 4/1/1954 | See Source »

Designer of the new laboratory is the Boston firm of Shopley, Bullfinch, Richardson, and Abbott, architects for the University. Construction was started early in 1951 and was completed this past summer...

Author: By Richard H. Ullman, | Title: Million-Dollar McKay Laboratory Opens | 10/16/1953 | See Source »

...liked to talk about her youth, and one yarn went something like this: "The father of my firstborn was a Mr. Drybutter. He had a slack spade beard and a twinkle in his eye. The father of my second child, now let me see, what was his name? Bullfinch? Clapsaddle? For the life of me I can't remember! But I'll never forget Phineas Drybutter. A woman never forgets the father of her firstborn." One little girl repeated this story to her best chum, who said: "Why! my grandmother told just the same story-with different names...

Author: /time Magazine | Title: Letters, Jul. 14, 1952 | 7/14/1952 | See Source »

...major Concerto for flute and string was the evening's novelty. Called the "Bullfinch Concerto" because of its opening bird-call effects, the piece abounds in sprightly melodies and contains some material used by Vivaldi in his great "Four Seasons." However, the performance was marred somewhat by Phillip Kaplan's breathy flute-playing...

Author: By Lawrence R. Casler, | Title: The Music Box | 11/9/1951 | See Source »

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