76,541 research outputs found
John Adam Street [Adelphi development]
No full textNumber 8 John Adam Street (Royal Society for the Encouragement of Arts, Manufactures and Commerce), detail, medallion; Adam House (7-10 John Adam Street) is part of the Adelphi development designed in 1768-1772 by brothers Robert and John Adam. In addition to individual town houses, Robert Adam engaged in a number of urban-planning schemes. He often introduced varied shapes, including squares, crescents and circuses, although his long terraces of juxtaposed houses or unified façades on the sides of a square were more common. For these, he took the principles of his individual town-house compositions and adapted them to large and more complex groupings, often applying the delicate ornamentation in Liardet’s cement. The grandest of Adam’s schemes was the Adelphi, built on leased land between the Strand and the Thames. He embanked the Thames, raising the Royal Terrace’s houses (destroyed) above vaulted warehouses that he hoped the Government would lease. For this, and for the rest of this H-shaped development, he employed his favourite decorative elements, but in a composition without an obvious central emphasis. Though aesthetically satisfying, the Adelphi was a failure financially for the brothers. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/17/2010
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
Get PDFAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
Interview with Robert Gordon
No full textThis interview with Robert Gordon, Illinois Tech architecture alumnus, architect, planner, artist, and author, was conducted on June 6, 2017 by Ralph Pugh and Adam Strohm
Pulteney Bridge
No full textSide view, the north side of bridge with the rear of shops; Pulteney Bridge is a bridge that crosses the River Avon, in Bath. It was completed in 1774 and is designated by English Heritage as a grade I listed building. The bridge was designed by Robert Adam, whose working drawings are preserved in the Sir John Soane's Museum, and is one of only four bridges in the world with shops across the full span on both sides. Early in 18th century Bath, there had been a steady advance of streets, squares and crescents northwards. Now Adam was brought in to design Pulteney Bridge, a skillful adaptation of Palladio’s unexecuted design for the Rialto Bridge, Venice. Pulteney Bridge stood for less than 20 years in the form that Adam created. In 1792 alterations to enlarge the shops marred the elegance of the façades. The original facade was restored in 1951. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 7/18/2010
How Might Adam Smith Pay Professors Today?
Get PDFAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
Author Tom Keneally back stage at the Nimrod Theatre, Sydney, 1980 /
No full textTitle from acquisitions documentation.; Part of the collection: Robert McFarlane collection of photographs.; Inscriptions: "Author Tom Keneally back stage Nimrod Theatre 1980 Robert McFarlane"--In pencil on reverse.; Also available online at: http://nla.gov.au/nla.pic-vn6615438
Author Tom Keneally and actor Justine Saunders backstage during the rehearsals of Bullie's House, Nimrod Theatre, Sydney, 1980 /
No full textTitle from acquisitions documentation.; Part of the collection: Robert McFarlane collection of photographs.; Inscriptions: "Author Tom Keneally + Actor Justine Saunders backstage Nimrod Theatre 1980 during rehearsal's 'Bulli'es House' Robert McFarlane"--In pencil on reverse.; Also available online at: http://nla.gov.au/nla.pic-vn6615450
Letters from Adam Mather to his brother Robert Mather between London and Van Diemen's Land
Get PDFTwo letters, the first from Adam Mather in London to his brother Robert Mather in 1823 before the Mathers sailed to Van Diemen's Land and the second from Adam Mather and his sister Mary Mather in London to Robert in Van Diemen's Land
Adam Smith on public expenditure and taxation
Get PDFThis paper presents Adam Smith’s view on taxation and public expenditure, by means of an almost literal reading of the Wealth of Nations famous passages on the "duties of the sovereign" and on the "maxims of taxation". Contrarily to the commonest usage of these passages, we will show that their core is the preoccupation with the public expenditure soaring and the defence of decentralisation. Furthermore and also contrarily to the existing interpretations we defend the non-existence of any contradiction between Smith’s income and price theory (and the incidence hypothesis), provided due attention is paid to the guiding role of the "maxims".Adam Smith, taxation, public expenditure
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