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...YEARBOOK'S editors have relied heavily on interviewing this year to get across substantive issues, and the result should warn them against repeating the technique next year. Most of the interview texts are way too long-particularly a multi-page monster with Laurence Senelick, director of HARPO. The book opens with a few pages of comments by Adam Ulam, professor of Government, and Reuben A. Brower, professor of English, who are asked to compare today's students with their ancestors of the early sixties. Their replies produce little of interest, but some of Brower's remarks are worth looking over...

Author: By David Blumenthal, | Title: From the Shelf Three Thirty Four | 5/22/1970 | See Source »

...question is not what he will do to it, it is what Charles Eames will do with it. In the same way that Eames has transformed the lounge chair and ottoman into a voluptuous and functional medley, he has transformed the lecture into a multi-image, multimedia environment: in 1940 Eames and architect Ecro Saarinen won first prize for designs entered in the Museum of Modern Art's Organic Furniture Competition; and at the University of Georgia and UCLA in 1953, Eames and his wife, Ray, for the first time used multi-media techniques in a public presentation...

Author: By Meredith A. Pahmer, | Title: Art Is A Chair, A Test Tube, A Loaf of Bread | 5/8/1970 | See Source »

Entering the building is like penetrating a chrysalis to suddenly find a multi-colored butterfly inside. The Eames Office harbors more than one colorful butterfly. Fluttering above or resting on shelves, Japanese kites wait to be chosen for a part in the next film. A glass-sided storage case displays the cowries and conches that starred in a 1967 film proposal for a National Aquarium in Washington, D.C. Indian and oriental tops lie motionless on their sides, recuperating from their featured billing in 1969 (Eames' film entitled Tops...

Author: By Meredith A. Pahmer, | Title: Art Is A Chair, A Test Tube, A Loaf of Bread | 5/8/1970 | See Source »

...integration of the arts and sciences is also evidenced in Eames' exhibits. The Seattle exhibit of '62 was a multi-image, partially animated view of science and how it got that way. In 1965 Eames prepared a memorial exhibit of Nehru, his life and his India, including the problems of technology. He changes even a pack of cards into a design problem: his House of Cards Picture Deck is made up of beautifully patterned photos that have slits so that one can build a house of herbs and spices, spools of thread, Victorian English pill boxes or Chinese baby firecrackers...

Author: By Meredith A. Pahmer, | Title: Art Is A Chair, A Test Tube, A Loaf of Bread | 5/8/1970 | See Source »

...opposed to it on philosophical grounds because the kind of world we live in-its pluralism, diversity, and closeness-demands an end to ethnic and cultural incest, an excuse for the insecure who don't feel they can make it in a multi-society...

Author: By Wallace TERRY Ii, | Title: Getting It All Together: Part II | 5/6/1970 | See Source »

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