sylvester dan ed (2 Ergebnisse)

weicher Einband. 256 S., ca. 100 Abb. Farb. od. s/w und ca. 170 Zeichnungen und Pläne Quer 4° Br. *neuwertig* Rising with its golden roof from the self-inflicted ashes of World War II, right at the center of the remains of Hitler's megalomaniac World Capital Germania, the new concert hall for the Berlin Philharmonic Orchestra has become the symbol of another Germany; a newly democratized nation that sought to reshape itself with the help of cultural experiences. Today, the Philharmonie is the nucleus of Berlin's Kulturforum with five museums, two concert venues and the state library, West Berlin's response during the Cold War to the Museum Island on the east of Berlin. Hans Scharoun's design for the Philharmonie is without precedent. It became the paradigm for numerous concert halls all over the world, but none has ever come close to the Philharmonie's conceptual, compositional, constructional, social and synesthetic experiential integrity. Scharoun (1893-1972) had pursued all his life to project a symbol for new democracy in Germany. Ever since the revolutionary air swept German society after World War I, Scharoun and a number of his friends were dreaming of the new gleaming glass dome on top of a cultural building that would become the alternative to the cathedral. More than four decades later, the purpose-built concert hall for one of the world's most respected orchestras, opened its doors to an avid audience. The Philharmonie's unconventional forms, mostly non-orthogonal planes with a few curves notably as part of the roof and the ceiling met with incredulity and outright rejection. When the designs were published, vociferous commentators were sure that it could not be built. Its apparent irregularity was thought by some to be costly and unnecessary. Yet on completion, the spatial magic and the constructional logic won over most critics. Nevertheless, there are some who remain hostile to the design, considering it to be irrational and overly expressive. With the possibility of publishing the drawings from the Scharoun Archive at the Academy of the Arts, Berlin, anyone with a slightest ability to read drawings will be able to trace the direct approach to the detailing and construction of the Philharmonie's spatially complex, yet highly logical composition. Sprache: Englisch.

Magazine. Zustand: Very Good. 40pp. Newsprint [43cm x 27.5cm / 17" x 11"]. Ten bifolia (sheets folded vertically once to form forty pages). Lightly and sporadically age-toned, a bit more so around edges and folds. Some very light and sporadic staining, creasing, toning. Earth First! is a group of radical environmentalists that formed in the American Southwest in the spring of 1980, founded by Dave Foreman, Mike Roselle, Howie Wolke, Bart Koehler, and Ron Kezar, among others. Earth First! quickly came to national attention with their "cracking" of Glen Canyon Dam activist stunt, which was performed and filmed in the spring of 1981. Edward Abbey is considered to be the "literary father" of the group. "Earth First! is the beginning of the new, bold environmental movement. And 'Earth First! The Radical Environmental Journal' is its voice. No compromise in the defense of Mother Earth!" (Dave Foreman, Editor). Rear cover half-page illustration by Brush Wolf is untitled and depicts two howling wolves standing atop an upside down bulldozer. Cover articles: "El Tigre: Doesn't Live Here Anymore" by Dan Dagget and "Undeveloped Lands In New England For Sale, Cheap" by Jamie Sayen. Other articles include "Connecticut River of Salmon Return" by Zapus Sylvester, "Quebec Ski Area Slides Over Local and Environmental Concerns" by Roger Sansterre, "Idaho Wilderness Gets the Axe!" by Somerset, "Deep Ecology and the New Civil Rights Movement" by Mike Roselle, "Conservation Biology and the Greater North Cascades Ecosystem" by Mitch Friedman, "The Neanderthal Gene" by Dave Foreman, and "Of Corporate Scum and Dirty Fingernails" by Jamie Sayen, amongst others. The "Nerthus" supplement insert on pages 19-22 focuses on the theme of paganism. Edward Abbey's book review of Richard Kazis and Richard L. Grossman's "Fear At Work: Job Blackmail, Labor, and the Environment" appears on page 25. The "Armed With Vision" poetry page is on page 35. "Earth First! Trinkets & Snake Oil" on page 36. Many illustrations throughout. Advertisements at the rear.