Word: designate
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Dates: during 1970-1979
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...Readers of the Report, especially faculty members most familiar with Design School affairs through the past five or six years, will recognize that there are those who have taken advantage of the opportunity this enquiry presented to air old and unrelated grievances, or to fish in troubled waters. This adds an unfortunate sordidness to parts of the Report that, in my judgement, reflects on the School somewhat unfairly." --Maurice D. Kilbridge, dean of the Graduate School of Design...
...matter how hard it tries, the Graduate School of Design can't keep its skeletons locked in the closet. Every few years the bolt slips, the door edges open and out step the remains of old GSD scandals in a veritable danse macabre. "Unfortunate sordidness" soon fills the air, as it has once again this month for the GSD, the University's long-time problem child...
...panel includes virtually all the principal faculty members and administrators involved in Hartman's case. Reginald R. Isaacs, Norton Professor of Regional Planning, refused to answer any of the panel's requests for testimony and information. The committee also accuses Francois C.D. Vigier, professor of City Planning and Urban Design, and William Nash, now teaching at Georgia State University, of cutting off their cooperation in the middle of the inquiry. All three men--Isaacs, Nash and Vigier--are vital to any study of Hartman's case as they were the senior members of his department, City and Regional Planning...
...Hartman case and to the other interconnected disputes that have divided the School. Quick, decisive action by the full faculty faces many obstacles, and referral to another committee within the GSD would delay the already unjustly long appeal process. Chester Hartman says he expects little from the Design School; he has already resigned himself to continuing his odyssey to the University president and, perhaps, beyond that to the courts and the AAUP...
Granted, they resemble slick magazine graphics or modern interior design. But is that necessarily a fault? It is not so much that Lichtenstein is so bad that he resembles commercial art, but that commercial art is good because it has learned the practical lessons of Mondrian, Picasso and modern art. Because of their plentifulness and familiarity we take for granted and deprecate the superb graphics of magazines like Playboy, Esquire, and National Lampoon. But how many boring dull articles have we been snared into by eye-catching graphics? And in a hundred years, how many architecture students will be studying...