Dedication of sculpture in Memorial Hall lobby, Chapman College, Orange, California

Dedication of sculpture in Memorial Hall lobby, Chapman College, Orange, California. Left to right: Carol and C. Stanley Chapman; William and Margy Wickett; Charlea and Nea Wickett; Liz and Roger Barr.

Professor Kurt Bergel speaking at the dedication for Moulton Hall, Chapman College, Orange, California

Professor Kurt Bergel speaking at the dedication for Moulton Hall, Chapman College, Orange, California,1975. This building is named in memory of an artist and patroness of the arts, Nellie Gail Moulton. Within this structure are the departments of Art, Communications, and Theatre/Dance as well as the Guggenheim Gallery and Waltmar Theatre. Waltmar Theatre was a gift from the late Walter and Margaret Schmid.

Dedication ceremony for Moulton Hall, Chapman College, Orange, California

Overview of the dedication ceremony for Moulton Hall, Chapman College, Orange, California. Completed in 1975 (2 floors, 44,592 sq.ft.), this building is named in memory of an artist and patroness of the arts, Nellie Gail Moulton. Within this structure are the departments of Art, Communications, and Theatre/Dance as well as the Guggenheim Gallery and Waltmar Theatre. Waltmar Theatre was a gift from the late Walter and Margaret Schmid.

Dedication ceremony for Moulton Hall, Chapman College, Orange, California

Dedication ceremony for Moulton Hall, Chapman College, Orange, California. Completed in 1975 (2 floors, 44,592 sq.ft.), this building is named in memory of an artist and patroness of the arts, Nellie Gail Moulton. Within this structure are the departments of Art, Communications, and Theatre/Dance as well as the Guggenheim Gallery and Waltmar Theatre. Waltmar Theatre was a gift from the late Walter and Margaret Schmid.

Dedication ceremony for Moulton Hall, Chapman College, Orange, California

Unveiling donor plaque at the dedication ceremony for Moulton Hall, Chapman College, Orange, California. Completed in 1975 (2 floors, 44,592 sq.ft.), this building is named in memory of an artist and patroness of the arts, Nellie Gail Moulton. Within this structure are the departments of Art, Communications, and Theatre/Dance as well as the Guggenheim Gallery and Waltmar Theatre. Waltmar Theatre was a gift from the late Walter and Margaret Schmid.

Dedication of the Pralle-Sodaro Residence Hall, chapman University, Orange, California

Dedication of the Pralle-Sodaro Residence Hall, 323 East Walnut Avenue, Chapman University, Orange, California, October 21, 1991. At the podium, George L. Argyros, Chairman of the Board of Trustees is speaking to Helga Pralle while President James L. Doti stands directly behind, and Bob Pralle applauds at right. Don and Dee Dee Sodaro are in the back at left. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units. This state-of-the-art residence hall was made possible by the tremendous generosity of Bob and Helga Pralle and Don and DeeDee Sodaro. Bob Pralle served as a trustee for eighteen years beginning in 1984 and Don Sodaro as Chairman of the board of trustees and has served on the board for fourteen years beginning in 1988. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units.

Lighting recommendations for the Ryan Electric Scintillator and Fireworks Program for the official dedication Niagara Falls illumination, 1925

Walter D’Arcy Ryan was born in 1870 in Kentville, Nova Scotia. He became the chief of the department of illumination at the General Electric Company of Schenectady, New York. He was a founder in the field of electrical illumination. He built the electric steam scintillator which had numerous nozzles and valves. The operator would release steam through the valves. The nozzles all had names which included: Niagara, fan, snake, plume, column, pinwheel and sunburst. The steam scintillator was combined with projectors, prismatic reflectors, flashers and filters to produce the desired effects. In 1920 a group of businessmen from Niagara Falls, New York formed a group who called themselves the “generators’. They lobbied the American and Canadian governments to improve the illumination of the Falls. They were able to raise $58, 000 for the purchase and installation of 24 arc lights to illuminate the Falls. On February 24th, 1925 the Niagara Falls Illumination Board was formed. Initially, the board had a budget of $28,000 for management, operation and maintenance of the lights. The power was supplied free by the Ontario Power Company. They had 24 lights installed in a row on the Ontario Power Company surge tank which was next to the Refectory in Victoria Park on the Canadian side. The official opening ceremony took place on June 8th, 1925 and included a light parade in Niagara Falls, New York and an international ceremony held in the middle of the Upper Steel Arch Bridge. Walter D’Arcy Ryan was the illuminating engineer and A.D. Dickerson who was his New York field assistant directed the scintillator. with information from American Technological Sublime by David E. Nye and the Niagara Falls info website Location: Brock University Archives Source Information: Subject Headings: Added Entries: 100 Ryan, W. D’A. |q (Walter D’Arcy), |d 1870-1934 610 General Electric Company 650 Lighting, Architectural and decorative 650 Lighting |z New York (State) |z Niagara Falls 700 Dickerson, A.F. 700 Schaffer, J.W. Related material held at other repositories: The Niagara Falls Museum in Niagara Falls, Ontario has a program (pamphlet) dedicating new lighting in 1958 and it has postcards depicting the illumination of the Falls. Some of Ryan’s accomplishments can be seen at The Virtual Museum of the City of San Francisco. Described by: Anne Adams Date: Sept 26,Upper Steel Arch Bridge. Walter D’Arcy Ryan was the illuminating engineer and A.D. Dickerson who was his New York field assistant directed the scintillator. with information from American Technological Sublime by David E. Nye and the Niagara Falls info website

Theatre Dedication - Sean O'Sullivan Theatre

Two letters, the first a letter from Michelle Gardner (Manager Development, Brock University) reflecting on the dedication evening for the Sean O'Sullivan Theatre. She includes a letter from Prime Minister Brian Mulroney who was unable to attend the dedication.

L'oraison dominicale : Sermons préchés a la chapelle des Tuileries, en présence de LL. MM. l'Empereur et l'Impératrice

UANL

Sermons du reverend pere De Mac Carthy

UANL

Sermons du révérend pere de Mac Carthy, de la Compagnie de Jésus

UANL

Village sermons on the chief articles of faith, &c., on the christian character, and on some of the relative duties...

UANL

Sermons In Stones. Argument And Artefact For Sustainability

The focus of the study is on the values, priorities and arguments needed to advance ‘design for sustainability’. The discussion critiques conventions related to innovation and technology and offers a product design approach that emphasises minimal intervention, integrated thinking-and-doing, reinstating the familiar, localization and the particularities of place. These interdependent themes are discussed in terms of their relationship to design for sustainability and are clarified through the conceptualization, design, production and use of a simple functional object that is, essentially, a ‘symbolic sustainable artefact’. Although it is fully functional, its practical usefulness in contemporary society would probably be seen as marginal. Its potential contribution is as a symbol of an alternative direction. It asks us to consider aspects of our humanity that are beyond instrumental approaches. It challenges sustainable initiatives that become so caught up in practical and environmental concerns that they fail to question the underlying values, priorities and social drivers which affect how we act in the world; those behaviours and norms that have created the very problems we are so urgently trying to tackle. The discussion is accompanied by a parallel series of photographs that document the relationship between argument, locale and the creation of the conceptual artefact. These photographs convey some of the qualitative differences between the place of much contemporary artefact acquisition, i.e. the shopping mall, and the particular locale that yielded the artefact created during this study; they are also useful in conveying the potential relationship that exist between place and the aesthetics of functional objects.