Word: harrison
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Dates: during 1950-1959
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...Search of Defense. Last week the New York Times took a long, authoritative look at the city around it, reported its findings in a seven-part analysis of the street-gang cancer and the damage that it produces. The series, written by Harrison E. Salisbury, for five years the Times's Moscow correspondent, dramatized by understatement the grim, everyday facts of warfare on the streets of the big city...
...Coach Robert Dougherty weighs 195, stands 6 ft. 1 in., is still hard-muscled enough to 'take my turn with the boys" during football workouts at Chicago's Harrison High School. Because he has two children in college, and needs more than his $7,000 yearly salary as football coach and director of physical education to keep them there, Dougherty also takes his turn three nights a week as a taxicab driver. Moonlighting earns him about $2,000 a year, but there are inevitable brushes with Chicago's night life; knife-point holdups...
...Waldorf, including the romantic trellised ceiling of the Starlight Roof. Within two years he had moved over to the new Rockefeller Center, where in the presence of "the prophets," Architects Raymond Hood and Harvey Corbett of the Rockefeller Center team that included fast-rising young architect Wallace Harrison, Stone was put in charge of the working designs for Radio City Music Hall, then as now the world's largest movie palace (6,200 seats...
...find his inspiration, the senior partner of Harrison & Abramovitz in 1954 toured the great cathedrals of England, France and Germany. Through his friend, Painter Fernand Leger, he met Chartres' famed stained-glass artist, Gabriel Loire, who molded the glass according to Harrison's design. The ruby, amber, amethyst, emerald and sapphire glass sections, roughly chipped to flash like jewels, are laid out to form abstract designs representing the Crucifixion and Resurrection...
...team produced a vast, stunning edifice in the form of a fish. Though not fashioned on such a preconception ("This interpretation was made after the design"), the shape honors an old symbol* that early Christians, pushed underground for their heretical beliefs, defiantly scratched on the walls of the Catacombs. Harrison's main purpose in using the design was to avoid inner supports and thus provide an unimpaired view. The sloping walls of the sanctuary, which is 60 ft. high at its peak, support each other; the principle is the same as that which causes a piece of firm paper...