AN INTERVIEW WITH GAYLORD RICHARDSON

Interviewer: Pat Kelly

The Oral History Project

of the Endacott Society

The University of Kansas

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GAYLORD RICHARDSON

EDUCATION

1960, B.A., Architecture Science

School of Architecture

Washington University

St. Louis, Mo.

1960, B. Architecture (first professional degree}

School of Architecture

Washington University

St. Louis, Mo.

1978, Master of Architecture and Urban Design (terminal degree)

School of Architecture and Urban Design

Washington University

St. Louis, Mo.

SERVICE AT THE UNIVERSITY OF KANSAS

Associate Professor, School of Architecture and Urban Planning 1975 – 2009

.

RETIREMENT

May 2009

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TITLES/RANK/AWARDS

Associate Professor, Architecture 1975-2009

2009 Jack and Nancy Bradley Award for Excellence in Teaching

ADMINISTRATIVE/CHAIRMANSHIP POSITIONS

KU Architecture National AIA/NCARB Educator Coordinator

Faculty Council

Chair of University Faculty Council FRPR Committee

KU Architectural Barriers Committee

KU AAUP Board

Director, Architectural Studies in Italy—Spannocchia 1994-2005

Elected to Alpha Pi chapter of Phi Beta Delta Honor Society for International Education

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Kelly: “This is November 30, 2009. I am Pat Kelly, a member of the Oral History

Project Committee of the Endacott Society. I am going to be talking with Gaylord

Richardson this afternoon. He retired in May of 2009 from the Department of

Architecture and Urban Planning. Okay. Gaylord has done his homework, or a lot of it,

anyway, so we have something that will be interspersed here. We have your birth and

where you grew up and all that sort of thing (see attached outline). I think maybe what

would be of special interest would be some of your hobbies that you haven’t elaborated

on, and just your thoughts about the department that you were in – suggestions that you

might have – people that you worked with that were of interest and such. So, why don’t

you tell us about… first, tell us about your hobbies since I mentioned that.”

Richardson: “In addition to my interests in architecture, landscape design, environmental

issues, and energy conservation, I enjoy fly fishing, fly tying, rod building, aquatic

entomology, target shooting, reloading, hunting, model building, graphics, painting,

poetry, music, especially folk, jazz, and classical. I keep a library of texts and internet

research that covers my wide range of interests. I have a large number of hobbies that

most probably go back to childhood, where I enjoyed living in Grand Blanc, Michigan. I

lived at 376 Perry Road, very near the City public school. We lived on a wooded nursery

that belonged to a gentleman who was in the Navy. I feel the Grand Blanc years were

very formative ones. I went from Kindergarten to 3rd

Grade there during the pre WWII

period to the end of the War. I remember December 7th, 1941 and hearing President

Roosevelt’s speech on the radio. My family rented that house on the nursery while my

father worked for Fisher body, a General Motors plant in Flint and later at the GM Tank

plant in Grand Blanc.

The nursery was a great place for a young man to grow up because I could play in

the trees and there was a little stream where I could catch frogs and fish right next to the

house. I did not have many childhood friends living nearby and learned to entertain

myself at an early age. An uncle, who had been a stationary salesman, gave me a carload

of samples of stationary and drawing paper. Paper was scarce during WWII, but I had a

supply that my parents rationed out to me. This led to my doing a lot of drawing at an

early age and eventually may have led me to the profession of architecture.

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Across the road from us was a farmer’s field. I remember being seven or eight

years old and I could venture across these fields. Each field had a big tree in the middle

for the farmers to rest in the shade after plowing or harvesting; so I could walk to the first

tree across the road in front of my house. At the first tree I could then see a second tree.

I would walk to the second tree and then see woods and a clear stream that must have

held a lot of trout, but I never saw them as a little boy. I would visit the stream and catch

bluegills, and my friends and I would eat our sandwiches, play in the water of the stream,

and wave to an older gentleman who lived in a cabin on the other side, who was kind of a

throwback to earlier times. He was a trapper and a hermit. We never spoke but always

just waved at each other. Sometimes I would see him in town quietly buying supplies.

I think that living on Perry Road in Grand Blanc made me very sensitive to the

outdoors and to nature. I experienced the contrast of urban and rural living. These

adventures taught me to enjoy my independence and the freedom of the countryside. I

also believe that these experiences developed my powers of observation, stimulated my

curiosity, and fed my vivid imagination. These lessons later served me artistically,

scholastically, and in my architectural work.

There was a lot of obvious insecurity for children during this era. The atrocities

of the enemy and the threat to our nation did not go unnoticed by the young. We

participated in scrap drives for salvageable materials, helped with the Victory Garden,

and tended the raising of rabbits and chickens for the table. I especially was aware of the

sudden rarity of metal toys and the appearance of wood and cardboard substitutes. We

resolved these tensions by playing at war, by reenacting battles and digging foxholes in

the yard. My father, after work at the tank plant, would take me with him when he would

do a little pheasant hunting with bird dogs behind our house.

I remember being a child and sitting in the sun on the south side of the house one

spring day admiring the tulips, thinking how wonderful it was to be in nature and how

much I liked being there, and that I never… I felt very secure outside, and kind of had an

epiphany that day, realizing that as long as I was able to be in nature at lengths of time, I

felt very secure and very healthy.

I’ve re-visited Grand Blanc recently and, of course, it’s changed. The area

around the house and nursery is now replaced by Kwik-Shops, offices and with

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subdivisions. The farmland I crossed is now ‘developed’. There are no pheasants in the

countryside and the stream is polluted. There’s very little left of what I enjoyed so very

thoroughly. I think it impressed upon me the need to be conservative with land and try to

extend the boon of nature as long as we can. We needn’t gobble up the empty space...I

hope the value of the natural landscape and the lessons of Issak Walton, John Muir, and

Ian McHarg are heeded. We must learn to avoid consuming the earth.”

Kelly: “…and cover everything with cement.”

Richardson: “That (my need for nature’s balm) proved to be the case even years later

when I was living in New York City. New York City may be the ultimate in American

urban experience. It offered the best and the worst of urbanity. We were there during the

period of political unrest generated by the Viet Nam War and the Civil Rights

Movement. This time contained the brief triumph of Modernism as an architectural

style followed by the denial of the authority of the architect by the Anti-Establishment

forces. This was a troubled time bringing many changes. The American architectural

profession has yet to recover its lost prestige. My wife found I was unusually stressed

and grouchy if I didn’t get out of the city about every two or three weeks for restorative

vacations. I needed a return to nature....and less cement!”

Kelly: “...too much cement!”

Richardson: “Yes, yes. So by the time the war ended, my father had an opportunity to

move to St. Louis where he worked at the GM Fisher Body plant. We lived in Ferguson,

Missouri. I didn’t like that very much because the weather was hot and the house was in

a suburban neighborhood. It was a shock for me to find my new home was really dense

suburban living, even though Ferguson was a nice place to live. I went from the 3rd

grade through high school there. While I was in public school, I made many friends with

people who shared my enthusiasms, including model airplane building. I actually went

through school with a friend who is now a very famous architect, Antoine Predock. We

knew each other quite well, and he flew model airplanes in the same park where I flew

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mine. I also made a friend of Bob Laval who shared a love of the outdoors. His father,

Vernon Laval, was my high school English teacher. Mr. Laval, a war veteran, was an

excellent teacher and role model. He encouraged us to shoot target competition with .22

rifles for the school team. I did that, becoming a Junior Distinguished Rifleman. That

became something that I kept doing. Not only did we shoot well at Ferguson High, but I

was also on the Air Force ROTC Rifle Team at the University of Michigan. Even after I

was at the University of Kansas, I shot in national matches with high powered rifles at

Camp Perry, Ohio, and still do target shooting as sort of as a recreational pursuit.

The fishing remained, let’s say, a mild interest until I came to the University of

Kansas. In about 1976 I was able to enroll myself and my son, Aaron, in Dr. Phil

Humphrey’s fly fishing and fly tying and rod building classes that he offered through

Continuing Education. Phil recently passed away, and was honored highly at his services

by fly fishermen who were grateful for his enthusiasms. He was really responsible for

teaching me to apply my model building and my architectural hand skills to the sport of

fly fishing. I build my own fly rods and tie my own flies, and have oodles of feathers and

fish hooks. I belong to the Federation of Fly Fishers and the local fishing club, which is

called the Free State Fly Fishers, here in Lawrence. Not only do we do a lot of fly tying,

fishing, and story telling, but also participate in charitable services. We provide fly

fishing therapy for injured veterans from the Iraq war, offer instruction to school

children, perform stream quality sampling, and that sort of thing.”

Kelly: “How interesting. Great.”

Richardson: “I also, through the influence of my excellent professor at Washington

University, Leslie J. Laskey, have remained involved in visual arts, painting and

drawing.....ever since I graduated from Washington University in 1960. During my

professional career as an architect, of course, I did a lot of drafting. In those days

documents were hand drawn and not much was computer work. I became quite good at

hand lettering and drafting, and being able to produce work rapidly... work I could be

proud of. When I left Washington University and initial employment in St. Louis, I

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found that New York firms were eager to give me a job. I got a job within about two or

three days after arriving in New York and had several offers.

As part of my architecture and my artistic enthusiasms, I spent years doing

paintings and woodcuts and freehand drawing, and kept a painting studio on Walker

Street (in the old garment district of Manhattan). I shared that studio with a couple of

other artists. I produced large color phenomena, hard edged, acrylic paintings that were

graphically pretty simple in design. (The paintings at first seemed like minimal graphic

compositions but with continued viewing became complex and vibrant.) Using my

understanding of color phenomena and other perceptual ideas, these paintings became

very active visually, when you look at them for a few minutes, because the color

phenomena (color flare, after-image, and other color interaction) began to make the

painting look layered and very complex. The images often appeared to actually move.

I was able to have some success with that work and sold several paintings,

including one to a friend and client of mine, Joseph Chubb, an heir to the Chubb Group

Insurance Company. I was asked to exhibit several paintings at the I.M. Pei and Partners

office where I was working. The occasion was an office reception for the AIA National

Convention of 1968. The Pei firm received the AIA Firm Award that year.

Encouraged by these events, I went to the Sidney Janis Gallery in New York and

showed them my work. I was not expecting to get a show from them because they were

very prominent (and were booked well into the future for shows by famous contemporary

artists), but I respected them and wanted to ask them whether I should pursue my painting

interests more vigorously. They immediately said, ‘Well, we’re not going to give you a

show and we’re not showing this kind of work right now, but we would be very

interested in the future. In the meantime, let us direct you to Rose Freid’. She had a

gallery (Gallery Rose Freid) on Madison Avenue. I went to see her (I’ve covered some

of this in my text), but she basically said, ‘Well, I can make you a painter’. That startled

me a little bit because that meant that she was going to intervene. She said, ‘But you’re

an architect and I’m an old woman. Architects are too independent, and I, being an old

woman, don’t want to offer you a show and then have you become so busy that you

won’t produce the work for it’. So, she said, ‘I’m very tempted, but I think we’d better

pass. I’ll give you another reference if you’ll come back and see me again’. She was

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right – I soon became very busy with my architectural employment! I couldn’t control

that. I had to honor my commitment to my employer. I could not support my family

without a paycheck.

So I didn’t wind up with a career as a painter, by this time I was ready to leave

New York, and began to think of doing other things. That eventually led me to go back

to graduate school at Washington University and I wound up in Lawrence, taking an

Associate Professorship in the School of Architecture. The painting stuck with me,

although it was dormant for awhile. I thought teaching would give me a lot of time to

paint and to do my own work, [Laughter] and I found out just the opposite! The

investment in creative energy that I made with students in Design Studios seemed to

exhaust all of these energies that I’d been holding for my painting.

That was fine. What began to happen was that I found that relaxation from

teaching returned me to hiking, hunting, and fishing. In a real sense, I rediscovered the

pleasures of nature in the countryside around Lawrence and Eastern Kansas. I also trained

Brittany spaniels. They shared in my bird hunting exploits. I found these trips very

restorative of my teaching energy and they informed my site planning a design courses. I

learned a good deal about environmental design, climate, and microclimate from these

trips. I probably have walked all over most of the accessible hunting areas in the eastern

half of Kansas. It’s probably one reason why I can’t walk so well any longer.”

[Laughter]

Kelly: “Well, that’s an age...”

Richardson: “Watercolor painting soon reentered my life activities. It was about

1992…that I first went to Italy and my interest in watercolor painting was rekindled. I

had included some painting and watercolor exercises in my architecture studio teaching,

but not a lot of it in my early days here at KU. However, Jeff Good, my former

architecture student and KU Architecture alumnus from that period, has not only become

a successful architect in Dallas, Texas, but also has a successful parallel career in

watercolor. He recently emailed me to thank me for introducing him to watercolor while

he was my student. He has a web page gallery (http://www.jefflgoodart.com/). Jeff

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remains a student/friend and recently visited my watercolor class and showed samples of

his work to my Spring of 2009 students.

I started going to Italy and took over a program at Castello di Spannocchia,

which is an estate just outside Sienna and not too far from Florence. The school, through

the late Prof. Harris Stone and his connection with a former KU student, Randall Stratton,

had started a kind of hands-on restoration of some of the buildings at Spannocchia that

dated back to the Twelfth Century. I was able to participate in that program, and became

Director in 1994. I took students there until 2005. That was when I handed the program

over to Prof. Robert Corser, a new faculty member with experience in Italy.” He has

since left the University of Kansas and the Spannocchia Program is, unfortunately, no

longer offered.”

Kelly: “Now, I know Max Lucas had some trips to Italy.”

Richardson: “Max, as Dean of Architecture, was a great champion of the Italy program

and responsible for me getting into it. He said, ‘You’ve done well with your first

exposure to Spannocchia. I want you to take over that program’. I had gone two years to

Italy in expectation of assisting Professor Rene Diaz with his graduate program in Sienna.

Max sent me to Spannocchia for my second year. It was a surprise and a change of plans.

I found that Spannocchia’s mountainous site was very beautiful and I liked the

assignment. As it turned out, Rene and I being good friends, were also able to travel

together. Spannocchia was the rural compliment to nearby urban Sienna. Often, we

arranged for my undergraduates at Spannocchia to get together with his graduates at

Sienna. We exchanged occasions when we would host each others’ groups.

Spannocchia was famous for its beautiful mountain views and picturesque kinds

of scenery. That started my watercolor work anew. I became very much interested in

travel sketches and watercolor, and taught students who were enrolled in the program

how to watercolor as part of the recording of the Spannocchia experience. Students were

also assigned the responsibility of keeping a written journal of their experiences.

The program included a month in this location which became a home base for

work and touring. We worked three days a week doing hands-on reconstruction of the

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villa and historic farm buildings. They were really common vernacular types but they

deserved to be maintained. The work wasn’t really done as historic preservation but

more historic stabilization because Spannocchia became a kind of working farm museum

on the thousand acre estate which was designated an ‘oasis’ or preserve for wildlife and

plant life that was typical of that region in Tuscany. Spannocchia was preserved as an

example of a ‘tenuta’ or tenant farm from the ‘mezzadria’ or ancient Italian share

cropping agricultural system that has recently been outlawed.

We spent work days with students, trying to use the materials that were found in

these buildings and building sites. We would remove them, clean them, try to put them

back just as we had found them. Often pieces were broken, so we tried to get parts and

pieces that were salvaged from other farms… where people might have a deserted small

building and want to sell the tiles and so forth. These were buildings that were built

completely out of materials on location… as a tradition -- the lime for ‘calce’mortar came

from the marble in the mountains -- the clay for the roof tiles from the valleys. The

timbers for the roof joists and the beams were all chestnut taken right out of the hillsides

and aged. This construction was fairly similar to our house construction, but of materials

that were available on site. The result was a homogenous vernacular style of building that

fit the countryside. The buildings fit the landscape in a harmonious and seamless

continuity. That was, I think, an important lesson for students, to see how that could be

done…”

Kelly: “That sounds fascinating.”

Richardson: “…and they took great pride in doing these buildings and then seeing them

restored and useful again. We did the re-building the month we were there, working with

Italian masons, carpenters, and other workers. So, we learned a kind of pigeon Italian

and they learned pigeon English in the process. The days we worked we lunched with

the Italian workmen and dined in the evening in the dining hall at the Villa along with

tourist guests at Spannocchia. The next three days, often the next four, were spent

touring Italian cities and architectural sites by automobile. After a day of touring we

either cooked our own meals or ate in local restaurants. Of course, life at Spannocchia

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was very communal – it was like one big family including staff from other universities

that Randall Stratton hired for the other operations on the farm. It made a big impression

on the students, and I am still in contact with people who went through the first years.

Some of these students have gone to good positions in great places, and they were all nice

kids. During my Directorship the Spannocchia Program became a very popular Study

Abroad Program for Undergraduate Architecture Students.”

Kelly: “That seems like a tremendous experience to be exposed to.”

Richardson: “Well, it was wonderful, but intense! It was difficult because after we did

the three days’ work, which was about as much as people wanted, we then toured for

three days by automobile to all the sites that were surrounding. So we went to other hill

towns, and usually went from Rome to Venice, spending several days in those cities. We

went to Florence, and we would go to Vetulonia and Monticiano, and other places that

some of the main tourist crowds never got to, because without the automobile you can’t

easily get there even by bus.”

Kelly: “I would think that your artistic talents, and your color and all of that, would be

tremendously important and advantageous.”

Richardson: “Italy certainly was inspiring. The first year I went I didn’t take my

watercolors. I immediately learned how much I wanted to paint what I was seeing!

Drawing and painting makes the artist look intensely and understand what is seen. It

allows the experience to be recorded uniquely. I really wanted to paint in Italy. I spent

about half my free time looking for art shops that had a set of watercolors that suited me.

[Laughter] I paid a big price for that set. Since then, of course, I have lots of materials.

I took them with me every year.”

Kelly: “I’ll bet you did. Now, you say this is an ongoing… to present.”

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Richardson: “Well, yes, I…still paint and taught watercolor to architecture students at

KU until I retired. Some of my watercolors were purchased at the Spannocchia

Foundation auctions held at their Maine headquarters. A watercolor of Rome was

purchased by Kansas City architect Tom Nelson. Recently, I was requested to submit a

watercolor to the Bruno David Gallery show honoring WU Professor Leslie Laskey in St.

Louis. The Gallery donated half the proceeds from these donations to the Laskey

Foundation. I submitted a watercolor of Massachusetts Street in Lawrence, the Casbah

and reflections in the Casbah window, which fascinated me because of one of the

consequences of Laskey’s influence in my life. Laskey taught his students to see the

world freshly and to open perception to surpass the preconceptions formed by habit.

Due to experiences in New York, and moving through the changes of the ’70s, I needed

to understand diversity and complexity. I had focused some of my watercolor students,

as well as my own perceptions, on the problem of depicting reflection, surface light, and

interior light in painted images. The difficulty is that you can only see one of those at a

time. They are selectively layered in perception. In other words, when we perceive a

storefront, we can look at the storefront and see the materials on the surface. Then you

have to look for the reflection off the glass and you see that. Then you look to see what

light sources were inside – if there were lighting fixtures or objects inside the store that

reflected light. That’s a tough subject but its fun to paint.”

Kelly: “Well, I’ll bet it is. Now, this is obviously something that we haven’t… well, you

said started during your tenure here at KU. The department has probably changed a lot

during the time that you were here, hasn’t it?”

Richardson: “Well, when I came in ’75, I really liked Lawrence as a community, and

found it really wonderful to be here. I loved the open spaces, and would actually feel

great joy sometimes driving in the countryside. The students were mostly pretty

straightforward, sort of farm kids, who were a little provincial but who had great

character, were very talented, and hard working.

I think Dean Charles Kahn, who had been here a year or so before he recruited

me, struggled to try to establish the School as a top-rated, nationally ranked School of

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Architecture. It had suffered prior to his coming. I met him when he visited the

Washington University School of Architecture where I was finishing my Master of

Architecture and Urban Design degree. He asked me to interview at the University of

Kansas. In fact, I was reluctant to even stop here, but I had an interview at K-State, where

I had a friend and former co-worker from a New York office, Professor Eugene Kremer.

I was going to see Eugene just out of courtesy to him and interview there. Noticing that

I-70 took me through Lawrence, I changed my mind and told Dean Kahn I would stop

and talk to him. I probably arrived at a good time – KU Architecture was hosting an

EDRA (Environmental Design Research Association) meeting, and so things were all

fixed up pretty nice and it was a gala event. I had a pretty good impression of the faculty

that Dean Kahn had hired and the Program that he had put together. That kind of

changed my mind, seeing that there had been changes. I think that he was effective for as

long as he was here. He built the school into a real architectural force – the kind of a

place that deserved recognition.

I could see that one of my missions was to encourage my students to compete

nationally for work, not to think about careers necessarily in their home town or home

state or region. I tried to convince them that they had the abilities to go outside the

Midwest and work on the coasts, and find good positions. I also encouraged them to

pursue graduate degrees from the most prestigious graduate schools. I feel like in large

part I’ve been successful with that. There was nothing wrong with staying in the area,

but many students were capable of aspiring to the challenges and rewards of other

institutions. I believe this is also a means for a school to elevate it reputation.”

Kelly: “Are there any particular students that you are especially proud of?”

Richardson: “Well, one is a person by the name of Steve Hardy. Steve was an excellent

student who graduated from KU Architecture and decided to pursue graduate studies in

London, England. He went to the Bartlett, University College London, where he did very

well – so well, in fact, that Architecture Professor Sir Peter Cook, architect FRIBA, the

person in charge of the school, wrote me and requested more students like him.

{Laughter] There weren’t many more like him, but we did send a couple of other people

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there. Steve was a great success there, and was an initiator of the collaborative

Urbanfuture firm which began to win important international design competitions.

Another Architecture graduate of ours, Jonas Lundberg, who had gone to the AA

in London, also worked with Steve and other young architects in Urbanfuture. They

began to conduct business through the computer in design projects with other European

architects and friends. They were quite successful. Both of them had the honor, and

precedent setting distinction, of working and teaching at both of the London schools (the

Bartlett and the AA) at the same time.”

Kelly: “Oh, my. That’s quite an honor.”

Richardson: “Yes. That had never been done. So it’s nice that some KU kids did that.”

Kelly: “A very good reflection on the School.”

Richardson: “Yes. Steve decided a little over a year ago to leave London and to teach in

the U.S. He had several offers. We would have liked to have hired him and weren’t able

to. He is now teaching at Nebraska. He likes that and, I’m sure, is doing very well. He

is a remarkable young man.

I have just learned that Steve Mueller, a KU Architecture alumnae, and his

partner, Ersela Kripa, have been awarded the 2009-2010 Rome Prize in Architecture at

the American Academy in Rome. Steve was a 2003 Spannocchia participant and

returned the next year as my assistant driver.

I previously mentioned Jeff Good, the Dallas architect and watercolor artist. I

remember many students that could be listed. Many I consider good friends. We, the

faculty and administration, owe students the best education we can deliver.

Kelly: “So… how are your thoughts about the department now and in the future for it?”

Richardson: “I felt that when Professor Rene Diaz took the Architecture Chair position

in 1988, under the Deanship of Max Lucas, that marked a great forward step for the

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school. Rene possesses a very creative intelligence, enthusiasm, and is an excellent

teacher. His challenges irritate some more conservative colleagues. Rene is very bright

and very well informed in the architectural scene. He has a deep knowledge of

architectural history and theory. Many of his friends and acquaintances are internationally

prominent architects. He was able to network with them, get them to visit the School,

and to get people that they recommended to teach part time. The school was really rising

into incredible prominence under his Chairmanship and was at its zenith.

When John Gaunt became Dean, after the retirement of Dean Max Lucas, he

decided to remove Rene’ from the Chair position. This was done in spite of the fact that

Rene’ had just received a very positive faculty evaluation as the Chair. John appears to

be open and approachable, but I believe he lacks vision and a sense of mission in his

Deanship. He reminds me of military generals that were unable to find the initiative or

courage to follow through military advantages that were before them. I believe the

School needed a Dean that had the courage and initiative of a Grant or Patton. I think

from that moment that he became Dean there began a decline in the status of the school

in the national scene. I have been very frank with John Gaunt about this from the

beginning. I told him this when he asked me what I thought of Rene’. I said, ‘Rene’ is a

friend, but I think that he’s been the best Chair we’ve had’. Many architecture colleagues

believe that John has fatally damaged the Architecture Program and has made decisions

in an undemocratic manner. The School bylaws have not been followed and, I believe,

he has made many ill advised changes without consulting faculty.

I think that we, at KU, have lost sight of the mission of an architectural education.

I believe that students make the decision to become architects through a creative drive to

design the environment. The vast majority do not pursue an architectural education to

perform academic research. They seek to become professional architects, able to think

critically, and design thoughtfully. Architects do research in practice with each new

project. This research is accumulative and published in architectural journals, but it is not

classical academic research. Architectural research resides in the practice of designing

and building. The architectural canon is developed by precedent. Architectural practice

requires creative invention and problem solving. I believe the School has lost sight of

this reality under Dean Gaunt’s leadership.

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The result is that we have lost a good number of prominent faculty who will be

very difficult to replace. Philippe Barriere, has gone to teach at Laval University of

Quebec. Murali Ramaswami left a tenure track position to go back into practice in

Kansas City. Bruce Johnson, a very talented young designer, resigned from a tenure

track line to assume only part time studio teaching. Paula Sanguinetti went back to

graduate school to do doctoral work in computer graphics, and I think it’s very doubtful

that she will return. We have hired people, in the name of research, who have yet to

prove that they could do research, but who have already proven they can’t teach Design

Studio.”

Kelly: “Well, it’s unfortunate. We talked earlier about universities being rather complex

places.”

Richardson: “They are complex places. There are lots of forces at work and we may not

be aware of all of them. I know the university is under a lot of pressure to become a

research institution. On the other hand, I don’t think you throw the baby out with the

bathwater, do you?”

Kelly: “I would hope not. [Laughter] I think when you talk about the mission of the

university, I’ve always thought students, teaching, was the first importance and that

research was the gravy, but…”

Richardson: “ I have always believed that the primary mission of faculty in a School of

Architecture was to foster creative learning. I believe architects should aspire to art.

The standards should be set with the highest expectations, definitely not compromised. I

could never teach what I did not sincerely believe. I had a good education and good

experience in practice before coming to academia. Well, it’s my opinion, and I

mentioned this briefly in my text, that I worked for good firms in St. Louis. Bernoudy,

Mutrux and Bauer were people who designed in the Wrightian manner (Frank Lloyd

Wright). Harris Armstrong was known in St. Louis as the father of Modernism who took

great risks in design for a community that didn’t… it probably wasn’t ready for

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Modernism. [Laughter] At the time that he made these creative offerings, he was severely

criticized by St. Louis newspapers. He won a Silver Medal from the French government

for his work on the Shanley Building in Clayton, Missouri. It was one of the early

buildings that used double glazing, and he had invented his own system of trying to keep

the double glazing from fogging. He was well known in the post-war era for his Magic

Chef building in St. Louis, one of the first air conditioned buildings in the country. He

had designed the complete curtain wall system himself for the McDonald Aircraft Plant

in St. Louis. When I was there, he had admitted to me that he had made more money

from his design and invention of a concrete form insert called the Green Streak Corner

Former, (which prevented spalling of concrete corners off cast concrete columns and

foundation corners) than he had ever made in his practice.

I think Harris was, without doubt, the most creative architect that I have worked

for, and I have worked for good ones: I.M. Pei and Partners, Ulrich Franzen and

Associates, and other firms. Harris’ success had to do with his sort of Scottish frugality

and his self reliance. He was a tough guy to work for, a real taskmaster. If he saw you

with your elbows on the desk and your hands on your chin, he would thump on his desk.

The drafting desks were set in a row along a side of the office. His desk was in the back

so that he could watch everyone. He would say, ‘Richardson, I am paying you to move

your pencil. I don’t care what you are thinking about as long as your pencil is moving’.

[Laughter]

For a long time, Harris and I struggled. I had a sort of combative attitude as a

young man, myself. [Laughter] It wasn’t until I finally figured out how to deal with

Harris that we became close. Harris had good graphic perception and a large ego, he

could… I remember one day he walked in front of my drawing board and was looking at

this sheet of drawings that I was working on, and said, ‘Richardson, that won’t work’.

And I said, ‘What do you mean, that won’t?’, and he said, ‘The windows don’t line up on

the elevation with the other facades’, and I said, ‘See, it does here’, and he said, ‘No, but

turn the page’. And sure enough, he was correct. I was terribly impressed by his ability

to understand the building that he had designed and was working on well enough to be

able to see upside down [Laughter] and that I didn’t have it right.

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I realized, after working for him for a year or so, that he would give you a sketch

and say, ‘Here, incorporate that into the design’, for a little change or revision in the

process of designing. Every time I would do it, I’d take my solution back to him, and

he’d say, ‘No, that’s not the way I wanted it. Let’s try this’. I got tired of that, and so

one day when he did this I said, ‘There’s got to be a limit to the number of ways this can

be solved, and I’m going to solve it every way I can think of, and then I’m going to show

him the one I like best’. So I took them to his desk and showed him, and he said, ‘No,

no, no, you should do it like that’. And I said, ‘Well, yes, I’ve got that solution also.

Here it is’. And he looked at it and said, ‘Well, maybe then you need to do with

something else. Maybe you should do it like this’, and I said, ‘Well, I have that one too’.

We went through about five or six issues like that, and finally he sort of coughed and

stood up, and I thought he was going to fire me. He slapped me on the back and he said,

‘Richardson, I think you are going to be a good architect’. [Laughter] From that time,

we got along much better.

Actually, only five of us did the McDonald Aircraft Space Campus project. Mr.

J.S. McDonald visited the office, which was a really small little office in Kirkwood,

Missouri. Harris had formed a short term partnership with a planning firm in California

who brought their personnel, so that added three or four more people. Then he told all of

us working for him, ‘If you know anybody that’s an architect that needs to do an

afternoon’s work, they can come out as long as they’ve got something to work on’. So

we filled every desk in his office, including about six in an annex building. When Mr.

McDonald visited it looked like we were extremely busy. [Laughter] Harris was the

kind of person who could do it all himself. He was, I think in a classic sense, a real

architect. He was not the corporate type whatsoever, but he was a real power. He had

friends all across the country. When I decided to go to New York he gave me five letters

of introduction to the people he thought would give me a job.”

Kelly: “Wonderful.”

Richardson: “I didn’t use any of them. I got my job myself.” [Laughter]

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Kelly: “You got it yourself, didn’t you?”

Richardson: “Yep.”

Kelly: “Are there new trends in architecture coming up? Do you see big changes?”

Richardson: “Well, I was in New York during the ’70s, and architecture, like most

professions, took a big hit during the anti-establishment movement. People were

distressed by high rise buildings and the modernist designs which they thought were cold

and harsh, and by housing that didn’t consider, possibly well enough, the user and their

culture. There was a popular questioning of authority, ‘The architect is not God, the

architect…, you know…”

Kelly: “…works for me.”

Richardson: “… ‘the architect isn’t equipped to make social decisions’. So the authority

of the architect was attacked. I think Law and Medicine have come through the anti-

establishment movement and social change a lot better than Architecture has. I always

think it’s amusing – the favorite color for architects attire became black [Laughter]. It’s

almost as if we are doing penance, or trying to look like priests without white collars.

I think that the movements after the ’70s began to struggle with the idea of

complexity and change, and with the kind of multi-valence in society, with multiple

forces, opinions, and positions. Not only did the English Departments in universities go

through De-Constructivism (Duke, for example), but also did Schools of Architecture.

That was a healthy, but a confusing time for the general public. Post-Modernism has

legitimated a kind of nostalgic use of familiar forms and classical references that, as far

as design is concerned, in my opinion, simply display our confusion. I don’t think there’s

any resolution that I can see at the moment. I think there are directions and there are

good designers, but I’m not sure there are acceptable popular solutions. I think our Oread

Hotel is a good example of what kinds of issues are at stake. These are images and forms

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that have a reference to something that never existed in the past. I think it is false

reference.”

Kelly: “What about… I was reading about the fire concerns, about this, what is it…down

five… below the surface?”

Richardson: “Oh, below the… yes.”

Kelly: “Was that a smart thing to do?”

Richardson: “Well, it’s an egress issue primarily, I’m sure, that if you have to get people

down there, you have to get them out in case of an emergency, and if there’s not

sufficient egress, then it’s dangerous.”

Kelly: “And you need a lot more sufficient when you are five stories below ground,

don’t you?”

Richardson: “Yes, well, egress needs to be carefully designed. There was a disaster in

New York City, involving a building near where I worked for Ulrich Franzen. It was in a

high rise building that had been opened to rentals before construction was really finished.

That was common practice because the owner-investor wanted some kind of return as

soon as possible on the mortgage and early rentals represented a great saving. The design

had employed a heat sensitive touch control on the elevators. The owner started renting

the upper floors because they were finishing the project from the top down to the bottom.

A fire started in the lower levels of the building in the construction areas. The tenants on

the top, although you should never use an elevator for egress, were trying to escape in

them. They would push the button and the elevator would come and deliver them right to

the fire. The fire set off the heat activated stop button and when the doors opened the

passengers were killed instantly.”

22

Kelly: “Oh, gosh, good night. Well, it just seems like for the thrill of being five stories

below ground or whatever the reasons for it were, have outweighed the real concerns for

possibly… things do happen, as you said.”

Richardson: “Sure.”

Kelly: “And it just seems like they are almost inviting disaster. What did you think

about Frank Lloyd Wright as an architect?”

Richardson: “Well, obviously a brilliant architect, no question about it. I’ve seen some

of his major buildings. I think he was somewhat a prima donna and pretty arrogant.

Harris Armstrong knew him personally, and Harris was very hurt when Wright snubbed

him at a gathering, after he had visited Harris in his home. Harris never understood what

had happened. I think everyone else, knowing Harris… probably thought he was too

much influenced by Wright, and Wright thought he was copying him or perhaps not

giving him the proper credit, I don’t know. I know that the snub hurt Harris very much.”

Kelly: “It would.”

Richardson: “Mr. Wright was… I remember William Bernoudy, who had been a Taliesin

Fellow, speaking of Mr.Wright’s visit to a party in St. Louis. Mr. Wright arrived at the

dinner party, or garden party, and bowed deeply and mockingly to a group of students

saying, ‘Oh, you’re the architects of the future, I am bowing to you’ It wasn’t [Laughter]

probably very kindly intended.”

Kelly: “Did you talk about your children, your family…?”

Richardson: “I haven’t talked about them too much, but my son, Aaron…”

Kelly: “… and about your marriage, when you married your wife?”

23

Richardson: “I married Nancy in St. Louis in 1961 after graduating from Washington

University. She had received her undergraduate degree from Wellesley College. I met

her while she was doing work on her Masters degree in English at Washington

University. She has served as the librarian for the Architecture School’s Hatch Resource

Center for the past 14 years. She plans to retire in 2010, although she loves the Hatch

and the students.

My son Aaron was born in 1963. He is a writer, taking after his mother, I think.

He went to Dartmouth and got a degree in English as an undergraduate. He graduated

Magna Cum Laude. He got his Master’s at the University of Chicago, and he’s now

working for the Bay Area Air Quality Management District in San Francisco, where he’s

the writer for their newsletter, and is sort of their… I don’t know what his full title is, he

gave me his card [Laughter], I haven’t memorized it… but he’s the Public Information

Officer for BAAQMD. He writes the newsletter, reports, communications, speeches, and

agency information releases. He’s married a lovely woman who’s involved in waste

management, Debra, and they have two children, Laurel and Evan, our wonderful

grandchildren. They live in Berkeley, California.

We didn’t have another child until I left New York for St. Louis. Our daughter,

Paula, was born in 1975. She graduated from the KU School of Design in

Metalsmithing, and she is a talented jeweler. She was working in Seattle, Washington,

but just moved to Davenport, Iowa, where she is working for Gemvision, Inc. This is a

firm that deals in 3-D modeling of software for jewelry shops and jewelry designers. She

will be teaching their modeling programs and doing a lot of traveling.”

Kelly: “And needed a car.”

Richardson: “And needed a car (my wife told you about that, yes)! She was doing all

right when she had a job that was accessible by public transportation, but when work

moved to another location, she had to take a bus and then walk through some

neighborhoods that weren’t so benign [Laughter], kind of an industrial area, apparently.

She’s got the car and is thrilled to death. The car is now with her in Davenport.”

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Kelly: “Well, good. That sounded interesting. And you have a third child, right?”

Richardson: “No, just two.”

Kelly: “Just two, okay. I think… did you deal with your committees that you were on

and things like that?”

Richardson: “Yes, when I first came I was pretty active in the Faculty Council and other

committee work. I’ve been… well, I was on the AAUP Board for awhile, and served

with Vickie Thomas and Frances Heller on the Grievance Committee for the University,

trying to write a grievance policy. We met with the Chancellor and discovered that,

really, all power was with the Chancellor. Faculty grievance procedures, although

useful… it was helpful to have a hearing committee and a process.....but ultimately

decisions rested with the Chancellor and the Grievance Committees were essentially

advisory. The Chancellor was not bound to follow the procedure recommendations.

That was a little discouraging to me, and I kind of dropped out of the political scene after

that because I felt that too often governance was just a sounding board. Grievance

procedures may have relieved some of the tension surrounding issues but findings were

not binding on the concerned parties.

Kelly: “It turned out to be kind of busy work.”

Richardson: “And I got busy with some other things, yeah. I think, probably, the most

interesting thing that I haven’t covered, was my involvement in the World Trade Center

in New York. I had done some consulting… I’m sorry, I should back up. I attended

American Culture Association National Conferences. One was held in Philadelphia in

1995 and the next was in Las Vegas 1996. In Philadelphia, I met a young man from

Rutgers University, Angus Kress Gillespie, who was writing a book called Twin Towers.

We made presentation in the same conference session. He was interested in the Twin

Towers as being an icon for the City of New York in spite of its unpopularity with most

architects.. A lot of people had disagreed with him, but I agreed wholeheartedly that the

25

Twin Towers had became a kind of landmark… especially for the people who were using

it in movies and other media as ways of telling you that the scene was New York City…

that this incident was taking place there. We discussed this first in Philadelphia and again

in Las Vegas. I didn’t know that he had quoted me when the book was published in

1999. In the spring of 2002, after the September 11, 2001 attack, I got a call from

Carolyn Williams of Williams and Connolly, a Washington law firm. She told me that I

had been quoted in Twin Towers and that my statement was relevant to the World Trade

Center litigation. She asked me if I would serve as a witness in their defense against

Larry Silverstein, who was suing insurance companies for multiple losses on the

contention that the Center towers were multiple buildings. She asked if I would take a

look at this matter and give an affidavit, which I did. I said, ‘From my point of view

there’s no doubt that it’s a single building. It rests on a single base or foundation. All of

the services are connected. It’s physically connected below ground. Although it seems

to be two separate towers it’s really one building from the architectural standpoint’. Not

only that, but also I was able to quote the architect, Yamasaki, and show that he was

considering the relationship of the two buildings such that, from a design point of view, it

made them a united configuration. Apparently, my affidavit and deposition succeeded as

the multiple building argument was dropped by the plaintiff. Silverstein won later court

decisions on the argument of there being multiple attacks. I was not asked to contribute a

professional opinion on that issue. I seldom learn the ultimate outcome of these

litigations as out-of-court settlements often require secrecy.”

Kelly: “I guess we’d better stop. I think we have covered most of the things you wished

to include. Thank you so much for an interesting interview.”

Richardson: “I should hope that my 34 years of Annual Reports submitted as required by

the University would serve to record my career at Kansas. I am including the outline I

prepared in anticipation of the Oral History recording and my latest full academic Vita

below:”

26

Gaylord Richardson 11-29-09 Verbal History with Pat Kelly

1. Born 3/30/36 to Vernon Gae Richardson and Mabel Lee (Richey) Richardson in

Taylorville, Illinois.

2. Father was from Michigan and a depression casualty. (He lost educational

opportunities and prosperity Grandfather Elwood Richardson lost his road

construction and bridge building business. Mother was a Southern Illinois farm girl

and school teacher.

3. I recall being in my crib and hearing my parents talking about a Danny Dever who

had poured molasses into his father’s derby hat. I must have been about 1 year old.

4. I recall next living in Flint, Michigan, where my parents shared a house rental with

Southern Illinois friends of my mother, John and Blanche Sowers. The housing was

in railroad workers housing between the railroad tracks and the Flint River. It was

integrated housing at that time. It was literally across the tracks.

5. My family moved to a rental in Flint. when I was about 2, then to a Menominee Street

rental(3). Cook Road (3-4 years old), and 376 Perry Road (kindergarten to 3rd

grade)

in Grand Blanc, Michigan,

6. My father had gotten a job as an electrician at GM’s Fisher Body plant in Flint.

7. The Richeys were, we believe, Swiss immigrants who left Europe through Holland

and settled in Rowan County, North Carolina. They were on tax records with Daniel

Boone. There were Richeys with George Rodgers Clark in the French and Indian

Wars. Many lived in Indiana and later in Illinois, when it became a state.

8. My father was primarily of a British background (Grandmother Jones was of Welsh

immigrants migrating to Fremont, Michigan from New York State. My Richardson

great, great grandfather, William, was married to Mary Utter. He was a Canadian

immigrant from Braham, Yorkshire. She was a descendant of Nicholas Matteson

Utter, Swedish soldier and mercenary for the Dutch in their struggle with the British

in New Amsterdam, before the Revolution. There are stories of my great, great

grandfather and his wife having to leave Toronto, Canada, for Sheffield, Iowa,

because a family member had spoken against the Queen. They escaped just ahead of

the Mounties.

9. I recall hearing the news of the Pearl Harbor attack and the out break of WWII on the

radio. The war years were full of scrap metal drives and rationing. My family kept a

victory garden, chickens, and rabbits. I felt the shortage of metal toys---my tin

soldiers were replaced by paper cut outs. My father had risen to a salaried position at

the GM tank plant at Grand Blanc. I recall seeing tanks being driven down the road

from the plant past my school. The house was part of a nursery operation we rented

while the owner, a Mr. Davis. served in the navy.

10. When I was ten we moved to St. Louis in 1946 where my father was employed as a

plant production maintenance engineer for Fisher Body. The post-war housing

shortage was severe and my mother, brother, and I lived in Anna, Illinois with my

Richey Grandparents from the fall until early spring when my father was able to find

a house on Abston Avenue in Ferguson, Missouri. I was in three third grade schools

during the 46-47 year.

11. I graduated from Ferguson High School in 1954, was president of my senior class. I

had worked every summer mowing yards and working in a neighborhood grocery,

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Ollie Karden’s, and at the Ferguson Berman’s Hardware after school and Saturdays.

I played violin in the school orchestra and was a member of the school rifle team.

coached by Vernon LaVal, my excellent English teacher. I had an excellent

education at Ferguson. Bently Bolin was an exceptional teacher of math and science.

He made it very logical and easily understood but was very demanding. I graduated

11th in my class of 121. I knew everyone’s name when I handed out diplomas at our

commencement.

12. My father had been hired by Ford Motor Company when they opened their St. Louis

plant. He was chief maintenance engineer in charge of production. Ford had a Ford

Fund Scholarship for employee’s children. I won a full scholarship to any university

to study whatever I wanted for four years.

13. Ferguson was near the St. Louis Lambert Airport and I was very interested in

airplanes. I had built many balsa wood models (they were short during the war) and

knew many McDonald Aircraft engineers in the neighborhood. This was the

beginning of the jet age.

14. I decided to attend the University of Michigan’s Engineering School and study

Aeronautical Engineering in the fall of 1954. I joined the Theta Xi fraternity and was

president of my pledge class. We were required to stay awake for a week during

hazing. I stayed awake but was traumatized at the end. I awoke from a deep sleep on

the final night with a memory loss and a personality change. I went to the U.of M.

health service where my symptoms were eventually diagnosed as mononucleosis, but

my sophomore year was a personal and academic disaster. I was very distracted and

had bad memory loss. I did poorly in my Engineering classes that fall and went

through a cathartic career change to Architecture. Although I transferred to

Michigan’s School of Architecture for the spring, I was dissatisfied with their

program.

15. I transferred to Washington University in the fall of 1956. WU had just hired Joseph

Passoneau, a Harvard graduate as Dean of Architecture. He was an excellent dean.

He was educated as an engineer/architect but appreciated the diverse spectrum of

architecture from science to art. He hired a faculty of very outstanding figures.

16. I became a student of Leslie J. Laskey in the fall of 1956. Leslie has a reputation of

exceptional excellence in teaching. Not only did he become my teacher and role

model but also a lifelong friend. He shaped my life with his artistic vision. I learned

to see the content in creative work.

17. One of his friends arranged for me to become a caretaker/resident at Minoma, of a

home built for Jefferson Kearney Clark by William Clark on land outside St. Louis.

The 1847 Italianate mansion was an amazing lesson for me and two other student

caretakers, Robert Murch (who became a Broadway actor) and David Vachon (who

worked for Marcel Breuer and later became a critic, writer, and talent broker). I lived

there from the spring of 1958 to the fall of 1959.

18. I returned to W.U. and received an award Outstanding Undergraduate when I

graduated in 1960 with a B.A. in Architecture Science and a B. Architecture degree.

19. I was married in 1961 to Nancy Turner, a Wellesley graduate living in St. Louis. We

had met in a bookstore in University City where she was employed by a friend of

Prof. Laskey. She also taught English at Cleveland High School in south St. Louis

28

after we were married. Later she was hired to teach English at Lindenwood College

in St. Charles, Missouri.

20. I was hired to work for architects, Bernoudy, Mutrux, and Bauer as my first job after

graduation in 1960. In 1961 I was considering taking employment with Balchrishna

Doshi, architect, in Amadabad, India. I was just married. Elsie Bickelhof, the

secretary, said when asked how long she had been married said simply, “forever!”

Just before sending a letter of agreement to Doshi I was released from the Bernoudy

firm due to a shortage of commissions. Bernoudy arranged for me to work for Harris

Armstrong. Armstrong was “the father of Modern Architecture” in St. Louis. He

received a Silver Medal for his 1929 Shanley Building is St. Louis. Harris was a very

creative architect---the most creative of all those for whom I have worked. He was

technically innovative as well as artistically talented. Harris was fiercely demanding,

but I learned to respond and gained his respect. He later wrote glowing

recommendations for me to his New York friends. I was asked to give his oration at

his funeral services in 1973.

21. In 1962, I became involved in an interest in folk music in Gaslight Square in St.

Louis. David Vachon and I entered a partnership with Eugene Clifford to design

build and operate a coffee house in the old Music and Arts Building theater where

William Inge first produced Back Porch (Summertime). We hoped as young

architects to be able to earn enough from the coffee house to become independent

architects and start our own firm. The coffee house, which I named Everyman, as a

huge success while David and I shared operation and management. When we turned

it over to Eugene, who mismanaged, it became indebted and a liability which led to

litigation and sale of our interest. It was burned in an “insurance” fire later.

However, it was an educational experience and was contributory to later good

fortune.

22. Nancy and I had a son, Aaron, on May 1st 1963, the year I took and passed the Arch.

Licensing Exam. The Everyman opened. We hired Pat Sky, Dave Van Ronk,

Carolyn Hester, Killary Still (Judith Powers), and other musicians. I became well

acquainted with Pat Webb and Charlotte Daniels, the Smothers Brothers, and Sonny

Terry and Browny McGee.

23. We decided in November of 1964 to move to NYC. The coffee house failure had left

us without great savings and it was evident that I would need to work for firms a

while longer. I wanted to do this outside St. Louis and decided that New York was a

better location for new experiences than the West Coast.

24. We moved our belongings in a trailer to Hartford, Connecticut, where we stayed with

Doris Storm, guitarist Pat Webb’s friend from the coffee house circle. She introduced

me to Hendon and Nita Chubb who had a brownstone on New York’s Upper East

Side. She had dated Hendon’s younger brother, Joseph, while both were at Yale. She

was doing graduate work in Public Health and he was a law student.

25. I left my family with Doris in Hartford and stayed with the Chubb’s wile I sought

work and an apartment. Within a week I had three job offers and an apartment at 202

Riverside Drive apt 9E. In the building I met Joe Newman a trumpet player from

Count Basie’s band and Herbie Hancock. I played tennis with Joe Chubb, visited his

family home and met his parents Mr. Chubb was the founder of the Chubb Group, a

major insurance underwriter. With Joe I met Tim and Nina Zagat, Yale Law School

29

graduates and later to become creator of the Zagat Guides. Joe invited us on two

occasions as his guest on the family owned Peter Island in the British Virgin Islands. I

have anecdotes of each to tell about these acquaintances and events.

26. I worked for Ulrich Franzen, Architect, at his 16th

floor 57th and Madison office. I

started immediately working late overtime without compensation on the Cornell

Agronomy Laboratory Building, Later on their Martha Van Rennsaleer Laboratory

and on the Alley Theater Building in Houston, Texas.

27. I heard of an opportunity at the I.M. Pei and Partners office at 600 Madison (across

the avenue) and took a position as designer for the Christian Science Center in

Boston, Massachusetts, under the partner Araldo Cossutta. Later, I joined partner

Henry Cobb and Pershing Wong as designer for the Baltimore World Trade Center

Project. I did by hand all the presentation drawings as well as design work. The

project succeeded in jump-starting the restoration of the economic development of the

Baltimore Inner Harbor.

28. I was sought the spring of 1969 by Ulrich Franzen to return to his firm to take

responsibility as Project Architect for the Phillip Morris Research Center in

Richmond, Virginia. This project in its design development phase was suffering from

poor programming and a crisis in house production funding. I took the position under

the condition that if I led the project back into budget control by the end of that

summer, I would be given design responsibility, under Mr. Franzen, for a new

project. I kept my end of the bargain but the Phillip Morris clients demanded that I

remain on their project to the end. I stayed on the project until the keys were turned

over to them. My project made more money for the firm than any other in the firm’s

history---so I was told. By 1972, I was very unhappy with work at Franzen’s and

with life in NYC.

29. Due to my contact with Leslie Laskey, I did painting as a serious second vocation

after graduating from Washington University. I kept a painting studio on Walker

Street in lower Manhattan. I did many acrylic paintings that involved graphic design

in a color phenomena interaction that initially looked very simple but, when viewed

longer, the color interaction created moving afterimages that made the work very

dynamic and complex. My work was shown in the I.M.Pei office when they hosted a

reception for the AIA National Convention in 1968{?}.

30. The art galleries were concentrated near 57th St. and Madison Avenue at the time. I

spent my lunch hours going to art galleries and openings. I show slides of my

painting to the Sidney Janis Gallery to see if they thought the work promising. I was

sent to Rose Fried’s Gallery on Madison Avenue. She said, “I can make you a

painter” but added, “You are an architect and I am an old woman. I have found

architects are not hungry enough. If I was younger, I would take a chance on you.

However, at my age I suspect that your work would prevent you from painting

enough for a show.” She might have been right! Without a show to work toward, I

did find that my architecture began to demand almost all my time.

31. I did a commission for a condominium for Joe Chubb that pleased him enormously.

He had purchased the apartment near the 79th St. Boat Basin because he liked the

view of sailboats from his 82nd St windows. On initially moving into the apartment

he found that instead of seeing the basin.

30

32. I became very depressed. I felt that my career had stalled and that I was trapped in

NYC. Whenever we looked for a location outside the city that offered a less stressful

life---we found that everyone else seemed to have been doing the same.

33. Return to Washington University. George Anselivecius Support TA house

remodeling Law School Business School Sociology

34. Outstanding Graduate Student shared with Greg Palermo

35. Referred by Dean Dinos Michelaides to Charles Kahn., KU Dean of Architecture.

36. Moved to Lawrence in 1975 and started KU Architecture in the fall.

37. Taught design studios, site planning and analysis, construction documents,

watercolor, programming, and design strategies. Was nominated a couple of times

for the Hope Award for Excellence in teaching.

38. I tried to use practical experience in a theoretical and non-pragmatic fashion. I

believe that architecture is a high art full of content. We aspire to art! Achieving this

state requires lifelong learning and a struggle to get past the obvious and superficial.

All life’s experiences are meaningful and applicable. The architect should know all to

one’s limits of ability.

39. Visited Italy in 1992 and led summer study abroad at Spannocchia until 2005 -14 yr

of Italy.

40. IDP, Intern Development Program, Educator Coordinator liaison with practice.

41. Active in American Culture Association National Conferences.

42. Did a couple of small architectural projects and had a lengthy consultation for EPA

Region VII concerning space needs strategies. Unfortunately a house designed for

KU Prof. Evelyn Swartz was never built due to budget, high bids, and Lawrence

builders’ reluctance to contract architect designed work with detailed construction

documents. This failure was a great disappoint to me and my client. I am still

saddened by it.

43. Law School graduate opportunities with Daniel Mandelker and practice experience

made me good at legal consultations. I did not solicit consultations but they were

several notable: Steamship Arabia, Cape Girardeau Housing for the Elderly, World

Trade Center, NYC , for Carolyn Connolly of Williams and Connolly.LLP, of Wash.

D. C. vs. Larry Silversteen regarding real estate litigation stemming from the 2001

disaster. Latter consultation was based on quote in Twin Towers by Angus Kress

Gillespie. The quote was based on a couple of conversations with the author at ACA

conventions in Philadelphia and Las Vegas.

44. Did a phased retirement and last spring was my final one. Received the 2009 Jack

and Nancy Bradley Award for Excellence in Teaching.

45. I am busy with my interests and enthusiasms.

CURRICULUM VITAE

January 31, 2008

GAYLORD E. RICHARDSON phone: 785/864-4129

University of Kansas

Tenured Associate Professor

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Architecture & Urban Design

EDUCATION Washington University, St. Louis, M.A.U.D. (terminal degree

in arch.), 1978.

Architecture Program award for outstanding graduate

student.

Washington University, St. Louis, B. Arch.& B. S. Arch.,

1960.

University of Michigan, Ann Arbor, studied Aeronautical Eng.

1954-1956.

Received 4-year Ford Motor Company Fund Scholarship,

1954.

OVERVIEW:

I have over 50 years of experience in architecture. Thirteen years were in professional

practice, including 9 years in NYC, prior to joining K.U. This experience has included

most building types and construction; residences, institutional buildings, legitimate

theaters, laboratories, health care facilities, and commercial office buildings. Also

included are nearly all aspects of professional service: client contact, contract negotiation,

programming, various zoning and code reviews, design, detail design, working drawings,

specifications, shop drawing review, project supervision, administration, and

management of junior personnel. Held project responsibility with well known New York

architecture firms; I.M. Pei and Partners--Christian Science Church Center, Boston, and

the World Trade Center, Baltimore; Ulrich Franzen and Associates--Alley Theater,

Houston, Philip Morris Research Laboratory, Richmond, Virginia. I am licensed to

practice architecture in the states of Missouri, New York, and Kansas.

I have taught at all levels of undergraduate architectural design. My professional

experience has supported my teaching support courses in site planning and analysis,

urban design and analysis, construction documents, programming and pre-design issues

as well as architectural design composition and watercolor. This experience and my

professional registration contribute to my advising of upperclassmen and graduates

entering internship.

My professional work at the University has included a space needs analysis for the Allied

Health Program of the K.U. Medical Center in Kansas City. I served as exhibit designer,

installer, and consultant for the Kansas All-Sports Hall of Fame (Lawrence)--Kansas

Athletic Commission. I consulted as architect and facilities planner for the U.S. EPA

Region 7, 1985 - 1989. I have served as an expert to the legal profession in litigations

involving architecture and building site problems including the Steamship Arabia

Museum in Kansas City and the Cape Girardeau Council on Aging’s Lindenwood

Apartments. Based upon my observations quoted in Angus Cress Gillespie’s 1999 book,

Twin Towers, my professional opinion was sought by the Washington, D.C., law firm of

Williams and Connolly regarding the 9/11 New York City World Trade Center real estate

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losses and litigation between insurance companies and Mr. Larry Silverstein, leaseholder.

MAJOR ARCHITECTURAL ACTIVITIES PRIOR TO 1975 (before University

position):

GAYLORD E.RICHARDSON, ARCHITECT, New York, New York 1072-1974.

Apartment Renovation for Joseph Chubb, esquire, NYC.

Penthouse Apartment Renovation for Joseph Chubb, esquire, NYC.

ULRICH FRANZEN AND ASSOCIATES, ARCHITECTS, New York, New York,

1969-1973.

New Research Laboratory, Philip Morris, Inc., Richmond, Virginia.

Project Architect, Design Development through Project Completion.

I.M. PEI AND PARTNERS, ARCHITECTS, New York, New York, 1966-1969.

World Trade Center, Inner Harbor Authority, Baltimore, Maryland.

Job Captain, through Design Development.

Christian Science Church Center Development, Boston, Massachusetts.

Design team, Underground Parking Garage and Site Development.

ULRICH FRANZEN AND ASSOCIATES, ARCHITECTS, New York, New York,

1964-1966.

Alley Theatre, Houston, Texas.

Exterior detailing and coordination of construction documents.

Martha VanRennsaleer Hall, Cornell University, Ithaca, New York

Coordination of exterior detailing and construction documents.

Agronomy Laboratory Tower, Cornell University, Ithaca New York.

Responsibility for window detailing and construction documents.

HARRIS ARMSTRONG, FAIA, ARCHITECT, St. Louis, Missouri, 1961-1964.

Ethical Society Building, St. Louis County, Missouri.

Job Captain, participation in design, construction documents, construction

supervision.

William C. Moog Residence, Hilton Head Island, South Carolina.

Participation in design development and construction documents.

Moog Servocontrols Office and Factory, East Aurora, New York.

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Participation in design development and construction documents.

McDonnell Aircraft Space Engineering Campus-Building 106, St.

Louis, Missouri.

Participation in preliminary design, design development, and construction

documents.

COURSES TAUGHT (University of Kansas)

ARCH 114, Arch. Design I (introduction to design)

ARCH 200, Arch. Design II (small building design)

ARCH 201, Arch. Design III (small building design)

ARCH 300, Arch. Design IV (basic design and construction)

ARCH 301, Arch. Design V (design, construction, and detailing)

ARCH 390, Arch. Studies in Italy--Spannocchia (Tuscany, Venice, & Rome)

ARCH 400, Arch. Design VI (comprehensive single building design)

ARCH 401, Arch. Design VI (single bldg, design dev., urban infill)

ARCH 500, Arch. Design VII (urban subject projects)

ARCH 501, Arch. Design VIII (urban subject projects)

ARCH 502, Arch. Internship (for selected students)

ARCH 557, Construction Documents

ARCH 559, Special Research Problems

ARCH 600, Italian Studies

ARCH 615, Intensive Graphics II (watercolor)

ARCH 617, Principles of Architectural Composition

ARCH 657, Arch. Programming II (site planning and analysis)

ARCH 658, Arch. Programming and Pre-Design Issues

ARCH 664, Urban Places (urban place analysis)

ARCH 806, Thesis/Project

RESEARCH, CREATIVE WORK, AND APPROVED PROFESSIONAL

CONSULTATION

ACA NATIONAL CONFERENCES-American/Popular Culture Annual Meetings:

Papers and/or Presentations:

San Antonio, 2004, American Spatial Concepts*

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Toronto, 2002, The Am. Landscape Considered as Cultural Palimpsest*

New Orleans, 2000, Going to Kansas City: Case Study*

San Diego, 1999, Am. Community, Struggle of Priv. v. Pub. Ext. Space*

San Antonio, 1997, Diversity in the Am. City; Search. for Authenticity*

Las Vegas, 1996, Architecture and Law, the Cultural Agenda

Philadelphia, 1995, America's Quest for Appropriate Urban Form *

New Orleans, 1993, The Grand Design, Architecture of the Site *

San Antonio, 1991, Stone Farm Complexes of Dorance, Kansas *

Toronto 1990, Lock, Stock, and Barrel; Colloquialisms in Am. Culture

Toronto 1984, The Regulation of Creativity in Architecture

*Session Chair

STINSON, MORRISON, HECKER LLD 2006 – Heather Woodson of the Kansas

City law firm requested my services regarding one time consultation on a case

involving architectural copyright. This litigation was very interesting as it will

establish precedent in the area of architectural copyright and begin to define how

architects may or may not use history and published materials in their projects. New

copyright law extends beyond drawings to the built project.

WATERCOLOR EXHIBITS-Watercolors shown and sold at the Spannocchia

Foundation’s Festa dell’Uva in Portland, Maine, in 2003 and 2004.

BIRD PHYSICAL THERAPY 2003 CONSULTATION - I prepared an architectural

program and space needs report for Bird Physical Therapy in Lawrence. This assisted the

owner in deciding to lease new space and increase his services.

WORLD TRADE CENTER, NEW YORK CITY, 9/11 LITIGATION 2002 - Carolyn

Williams; of Williams and Connolly, a Washington D.C. law firm involved in the World

Trade Center litigation between Larry Silverstein, WTC leaseholder, and firms insuring

the real estate; contacted me in the spring of 2002. This case is the central litigation of

the WTC real estate loss due to the September, 11, 2001, terrorist attack. Angus Cress

Gillespie had quoted me in his 1999 book, Twin Towers. The quotation came from

conversations that I had had with the author during ACA Conferences in Philadelphia in

1995 and in Las Vegas in 1996. The attorneys found my comments very relevant to the

case and asked me to research and review documents and expand upon my statement in

Gillespie’s book. I prepared a lengthy Affidavit report that was submitted to the Federal

judge reviewing the merits of the case in April, 2002. In September I was invited to

Washington, D.C. to prepare for my day-long, 207 page, deposition which was taken in

New York City. Testimony in the Federal Court in New York City was anticipated to

be in mid December of 2002, but trial dates were postponed and I have not yet been

summoned to appear. The proceedings are apparently still in the Federal courts. I am not

at liberty to reveal the content of the materials that I prepared because of the need for

confidentiality.

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PARTICIPANT in AIA/NCARB Intern Development Program (IDP) Coordinators

National Conferences in Washington, D.C., (1995---2001 most recent.)

PUBLISHED ARTICLE -Amici di Spannocchia, the Etruscan Foundation news

magazine published my article and photographs of our work at Spannocchia in their fall

1999 issue.

VIDEO - KU University Relations used my video recordings of the Spannocchia work

for a portion of the official KU recruiting/promotion video, 1999.

OVERLAND PARK, KANSAS – 1999 – Robert V. Wells of Wells & Alverez, Attorneys

at Law, requested my services in litigation involving Ms. D. Day and 75th

Street Shops.

Involved proper design of the grading and drainage of a parking area. Deposition given.

JOPLIN, MISSOURI, CONSULTATION - 1997 - Roger Johnson of Hershewe &

Gulick, P.C., Attorneys at Law, requested my services regarding the proper design of an

exit. I reviewed documents, visited the site, and wrote a report. My deposition given, I

testified at trial; jury found in favor of Mr. Johnson’s client.

OVERLAND PARK, KANSAS - 1997 - John Stanley of Lawless and Stanley, Attorneys

at Law, requested my services regarding the Taulbert case. I inspected the site, reviewed

documents and photographs, performed code research in relation to maintenance of

proper egress pathways, and prepared a brief letter of report. Deposition given, testified

at trial, and jury found in favor of Mrs. Taulbert.

KANSAS CITY, MISSOURI - 1997 - Robert V. Wells of Wells & Alvarez, Attorneys at

Law, requested my services in litigation of three cases. The Day case involved injury at a

curb drain in a parking area. The Miller case involved injury at a walkway ramp. The

Wasinger case involved injury at a ramped entrance to a convenience store. In each of

the above I visited the site and made a brief report of my opinion. My deposition was

taken in the Day case.

J.P. TODD'S CONSULTATION - 1996 - Thomas Stein, Attorney at Law, Kansas

City, Missouri, requested my consultation as an expert in a litigation Sarah Taylor

V. J.P. Todd's regarding proper design of level changes and egress in a renovated

retail shop at the northwest corner of Broadway and Westport in Kansas City,

Missouri. I was of the opinion that the steps and egress did not meet the building

code. The issue was settled after I made a site visit and verbal report.

KANSAS CITY, MISSOURI - CONSULTATION - 1996 - Brian Fries of Kenner

& James P.C., Kansas City, Missouri, asked that I review photographs, and code

requirements related to an accident on an exterior curb cut accessible ramp. I

agreed with their other expert that the curb cut ramp did not meet ADA standards.

Issue was settled before I made a site visit and report.

CONFERENCE FACILITATOR – Led conference discussion for the City of St

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Joseph, Missouri on the occasion of the City’s first Historic Preservation Summit in

the fall of 1996.

HALL CENTER - Participant in the Hall Center for the Humanities Spring 1996

Mini-course for Faculty entitled, The American Cine-Century: Mapping a Medium.

The Film Studies program explored cultural and cross-disciplinary issues through

films.

HALL CENTER – Received a Hall Center grant to participate in their Fall 1996 Hall

Center Faculty Seminars entitled, The Contested Terrain of Public Space: Past,

Present and Future. My presentation, a paper illustrated with slides, was entitled,

"The American City, Problems of a Diverse Agenda."

EXCELSIOR SPRINGS CONSULTATION - 1996 - Thomas Fincham, Attorney

at Law, Kansas City, Missouri, asked me to visit Excelsior Springs, Missouri to

visit the site of an accident related to icing of exterior steel stairs near the Hotel

hot tub. Proper design and safety precautions were at issue. I gave a verbal

opinion, pending research on weather data, that the stairs may have been icy.

EXCELSIOR SPRINGS HOTEL -1996 - Thomas Stein, Attorney at Law, Kansas City,

Missouri, requested my consultation as an expert in a litigation regarding proper design

of steps and handrails into the restaurant and bar. The issue was settled after I made a

site visit and verbal report to Mr. Stein.

ACCEPTED REVIEWER - Evaluated the AIA/ACSA Council on Architectural

Research "Design for Aging" 1995 Curriculum Research Package (KU one of 10

schools in US and Canada to be selected). Prepared report and slides of student

projects.

KC STEAMBOAT ARABIA MUSEUM - Consultant to litigation of Steamboat Arabia

Museum's water damage problems in the Kansas City Rivermarket (1994-1995). I wrote

a technical report on the water infiltration damages to the Steamship Arabia Museum in

the East Building for the KC Rivermarket. This was part of my expert consultation for

the law offices of Niewald, Waldeck, and Brown. Damages resulted from improper

maintenance procedures, faulty materials installation, inadequate detail design,

condensation, groundwater infiltration, and incompatible tenancies in the building. As a

result of that consultation, Sean Michael, Director of Operations for the Kansas City

Rivermarket, requested my services in a 1995 meeting to confirm that the City's remedies

to problems at the Arabia premises were sound. I wrote my opinion in a report.

HALL CENTER - Organized the Spring 1994 KU Hall Center Mini-course for

Faculty: What is Created by Architecture? Directions and Controversies since the

Vietnam Crisis. Conducted Session I, How is Architecture Defined?

HALL CENTER - Received a Hall Center grant to participate in their fall 1993 Hall

Center Faculty Seminars entitled, "A Sense of Place." My presentation, a paper

illustrated with slides, was entitled, "Emerging Visions of Landscape."

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HALL CENTER - Hall Center Spring 1993 Mini-course for the faculty, Musicians as

Creators.

KANSAS CITY, MO. CONSULTATION - 1993 - I gave a deposition for Phillip S.

Smith, Attorney, in regard to the Foland v. Cameron litigation regarding proper level

changes in a motel interior. I gave a deposition stating that the step design was

improperly designed.

LENEXA, KANSAS CONSULTATION - 1993 - Kenneth Holm of Boddington &

Brown requested my services in the litigation of Feldman vs. PDOQ, et. al. Performed a

review of building code and construction documents and visited the site in relation to

litigation pertaining to exit and egress from a restaurant/bar. I gave my opinion on behalf

of Paddy O'Quigley's that steps in question met the code and that all design standards

were in place. Case settled before my deposition was taken.

KANSAS CITY, MO. CONSULTATION - 1992 - I wrote a letter of opinion for Phillip

S. Smith, Attorney, in regard to the Griffin v. Bircain Apartments litigation that stated

that the steps were unsafe.

COLUMBIA, MISSOURI CONSULTATION - 1991 to 1992 - Knight, Ford, Wright,

Parshall, & Baker requested my services in the Gilmore v. Angeles litigation arising from

an accidental drowning of a child in a small lake in an apartment complex. Inspected the

site, measured lake side slopes and depths, researched pond design, and wrote a report in

behalf of the defendant, the apartment owners. Case was settled at trial.

CAPE GIRARDEAU CONSULTATION - 1990 to 1991 - The St. Louis law firm of

Bartley, Goffstein, Bollato, and Lange requested my visit to their client's Lindenwood

Apartments in Cape Girardeau, Missouri, to provide a professional evaluation of the

water infiltration damages regarding the Cape Girardeau Council on Aging v. Booker

Associates, et. al. litigation. I prepared a detailed report of design and construction

problems and gave a lengthy deposition that contributed to the defendants' settlement at

the trial--before my testimony was given.

ARTICLE - Publication-"Aspiring to Liberal Education" in proceedings of Graham

Foundation sponsored symposium, The Liberal Education of Architects, K.U. 1990.

LECTURE -"Adaptable Design" at Salina Human Relations Dept. 1989. Made a

presentation on Fair Housing Amendments Act of 1988.

EPA CONSULTATION - 1985 to 1989 - Facilities design and space planning services

were provided, as well as general architectural consultation related to efficient and

attractive renovation of GSA leased facilities for Region VII Headquarters of the U.S.

Environmental Protection Agency.

EVELYN M. SWARTZ RESIDENCE - 1983-1984 - A K.U. faculty member requested

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architectural services in the design and construction of an economical, low maintenance

new residence. Client desired special consideration to personal dimensions and making

house accessible to handicapped as well as to elderly.

EXPERT CONSULTANT FOR MIKE KEALHOFER, P.A - 1983 - Law firm of

Spellman, Spellman, Spellman, Spellman, and Kealhofer sought expert consultation

regarding an accidental fall in a facility operated by the State of Iowa.

LEGAL CONSULTANT FOR ROBERT FORSCHLER of McAnany, Van Cleve,

Phillips, P.A. - 1983 - An open drainage way was enclosed as part of a Lenexa, Kansas,

subdivision project. Flooding occurred and owners claimed damages. Mr. Forschler had

been the defendants attorney opposing Mr. Elmer Jackson in the case below.

ARCHITECTURAL CONSULTANT – PROF. & MRS. WALTER H.CROCKETT -

1982 - Consultation regarding leaks in existing residence and remedies. A separate effort

was the application for a variance from the City of Lawrence to assure the site’s access

and marketability.

EXPERT WITNESS FOR ELMER JACKSON - 1982 - A Kansas City, Kansas case

involving the enclosure of an open drainage way and damages to private property

resulting there from. Involvement included a deposition and court testimony on behalf of

the plaintiff.

RAINTREE MONTERSSORI SCHOOL - 1981 to 1982 - Architectural commission

included design for conversion of existing church into school, apartment and more energy

efficient facility.

LAWRENCE AIRPORT TERMINAL - 1981 - Advised the Lawrence Aviation

Committee for City and Chamber of Commerce Airport Advisory Committee on the

design and feasibility of the new airport terminal site plan and building facilities.

Involvement was advisory in six or seven meetings at City Hall.

BRIAN ANDERSON VS. CITY OF LAWRENCE - 1981 - Was a consultant to Mr.Brian

Anderson in his effort to prevent acquisition and demolition of his Sixth and

Massachusetts property for a City parking lot. My alternative parking garage design

showed cost savings over the city proposal. City proceeded with its plan. My garage

concept was later used by the Riverfront Mall.

ADVISED CITY MANAGER AND STAFF - 1981 - Upon request met with above and

showed changes necessary to their design to improve safety of a parking lot they

proposed for the above site. Entrance island, turning radius, blackout space, handicapped

parking, and other features were modified to our recommendations.

RICHARD AND CHRISTINE LEE CONSULTATION - 1981 - Acted as architectural

consultant to the Lee's regarding contract interpretation and inspection of problems with

their newly purchased residence. Litigation was anticipated against their builder.

39

Construction document interpretation, inspection, and checklist of faults resulted in their

relief.

OMAHA TRIBE - SCATTERED SITE HOUSING - 1981 - I associated with Design

Planning Associates in making proposal/presentation for contract for 35 units of HUD

sponsored scattered site housing units. Researched tribal background and assisted in and

making presentations to the tribal council and housing authority. We were the architects

selected, waiting for approval to proceed, when tribe elected a new building committee

who contracted with another firm.

OMAHA TRIBE - NATIVE AMERICAN CHURCH - 1981 - Associated with Design

Planning Associates for proposed design of Macy, Nebraska Native American Church.

Participated in research, design and made presentation of model during tribes annual

Pow-Wow in August, 1981. (related to above project)

LAWRENCE CENTRAL PARK -1981- Associated with Larry Good, Architect, in

making a proposal requested by the City to provide a master plan for redevelopment of

Lawrence's Central Park. Assisted in writing the proposal and making a presentation.

Peter Williams, and Kabota received the Commission.

KANSAS ALL SPORTS HALL OF FAME - 1981 - Installed in Lawrence's' Watkins

Community Museum. Responsible for research, design, and installation of exhibit of 51

famous Kansas athletes. I designed the plan, cases and cabinetwork, and graphics to

display photographs, biographical data, and memorabilia. Completed January 1981,

opened formally September 12, 1981.

K.U. MEDICAL CENTER SPACE NEEDS ANALYSIS - 1977 - Performed a survey

and analysis of space needs for the Center's Allied Health Program. Prepared a program

report of various group's need for space as a planning tool for Dean of Allied Health.

SERVICE

Director, Arch. Studies in Italy--Spannocchia 1994 to 2005.

National AIA/NCARB IDP Educator Coordinator for the University of Kansas, 1995-

present.

School Promotion and Tenure Committee, 2004-2005.

Architecture Program Promotion and Tenure Committee, 2003-2004.

K.U. Architectural Barriers Committee—campus accessibility. 1978-2000.

Architecture Program Promotion and Tenure Committee, 1998-2000.

Chair, Architecture Faculty Search Committee, 1997-1998.

K.U. AAUP Board Member, 1996-1998.

Coordinator of Arch. 502 5th Year Internship Option, 1988-1995

Faculty Senate FRPR Committee1980-1981.

Faculty Council O & A Committee, 1980-1981

Chair, Faculty Senate FRPR Committee, 1979-1980.

SenEx Task Force on Grievance Procedures 1979-1980.

Faculty Council Representative.

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