Word: designate
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Dates: during 1970-1979
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...after-tax dollars to spend, in the hope that their buying would lift the economy; business spending to build new plants, modernize machinery and introduce new products was expected to follow automatically. But investment now is very low, and the absorbing question of tax policy has become how to design cuts to spur the largest rise in investment. Or, to put it another way, how to remove obstacles that the tax code puts in the way of investment. As Robert Anderson, president of Rockwell International, explained: "If I had a partner who put up all the money, took...
Much of this paperwork morass can be avoided without compromising the safety or civil rights of anyone. The Administration's proposed nuclear licensing bill would allow the NRC to give final approval to plants that follow a standard, accepted design for construction on previously approved sites. In that way, it would eliminate some layers of review agencies and reduce the opportunities for opponents to reopen litigation on is sues that have already been legally resolved by courts. Unfortunately, there will be no action on this proposal before 1979. Legislation to place the licensing process in the hands of fewer...
Schmidt and Avery, certain that the Haya steelmaking process was very old, set out to trace its origins. What they found was beyond even their expectations. Last year, in excavations on the western shore of Lake Victoria, they discovered the remnants of 13 furnaces nearly identical in design to the one the Haya had built. Using radioactive-carbon dating processes on the charcoal, they found that these furnaces were between 1,500 and 2,000 years old, which proved that the sophisticated steelmaking techniques demonstrated by the contemporary Haya were indeed practiced by their ancestors. This discovery, the scientists conclude...
...from Venice. His father was a stonemason, his uncle an architect and civil engineer who worked on the huge sea walls that protect Venice's lagoon. It was an image of massiveness that was to inspire Piranesi. From the busy Venetian theaters, he learned the art of stage design, which in those times ran to imposing fixed backdrops where ornate buildings receded in dramatic chiaroscuro. At 20, Piranesi landed a job in Rome as a junior draftsman in the retinue of a Venetian ambassador. He yearned to do his own buildings, but as he wrote despondently, "No buildings...
Piranesi hence resolved to convey his ideas in pictures. He published a volume of twelve visionary buildings that dramatized his spaces by the diagonal perspectives of stage design. But his work created no stir, and he was forced to return to Venice, where the presiding geniuses at the time were Tiepolo, Canaletto and Guardi. The influence of Tiepolo freed Piranesi's line from cramped meticulousness favored by architectural engravers of the day. The result can be clearly seen in the Morgan show, where sketches for decorative panels and figure studies echo Tiepolo's and Guardi's free...