Interiors For Living With a reputation built over 25 years, Joanna Wood is recognized as one of Britain's leading figures in interior design. Her practice, Joanna Trading, was the winner of Britain's 2012 Design & Architecture award. Now Joanna Wood invites readers inside the walls of some of the most sumptuous rooms ever created. From the ultimate home that has everything to a country residence for a young family; a classic English cottage to a newly built town house, she brings to each project her practiced eye and attention to detail, creating a classic style that combines traditional and contemporary elements to produce a result which is both practical and visually exciting. Along the way, the designer shares her own experiences, tips, and secrets that can help transform any room into a comfortable oasis. Includes a foreword by David Linley.

Bathrooms - Country Living: Easy Transformations Hearst Communications Transforming bathroom from boring to beautiful is Easy the WITH Country Living's help. Every Splendid COLOR Photograph presents an attractive OPTION. From decorating a fun kids' Bathroom to fashioning a luxurious spa right at home. There's no need to begin from the ground up to create a space that meets your needs: you'll find winning ideas to adapt. detailed makeover plans to follow. and simple projects to make. The many looks to choose from include clean. attractive white-on-white. vintage chic. and soothing spaces. filled with soft colors and textures. See how to design and decorate a very small bathroom or one used by two or more people. There are inventive ways to add splashes of color or the warmth of wood. to organize and accessorize. and to adorn wall surfaces creatively. There's a great...

Living in Bali - 40th Edition Loved by travelers for its lush tropical scenery and charming people, Bali is one of the most magnificent places on Earth. Spirituality and nature are integral parts of everyday life for the Balinese, so one can easily see why the island’s traditional architecture has a peaceful presence to it, mimicking its surroundings and sometimes blending in with them. When it comes to Balinese houses, walls are not compulsory, wood is everywhere, earth tones are dominant, and thatched roofs abound. Opening onto gorgeous green landscapes, majestic mountains, or beautiful coastlines, the homes herein ooze relaxing, contemplative vibes. This portfolio of Southeast Asian living features a swath of fresh and inspiring photographs and comes in a compact size, so you can take a little bit of paradise with you wherever you go. Gazing at these opulent examples of simple and elegant living, it’s a wonder why more people aren’t rushing to move to Bali. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program―now more compact, friendly in price, and still realized with the same commitment to impeccable production. Prikaži više

Embracing Natural Design: Inspired Living Through beautifully photographed residences, which have an exquisite layering of classic and modern furnishings, Stephanie Kienle Gonzalez discusses how to bring sustainable elements into your living space. She employs organic forms, stone and wood pieces, and natural weaves with texture, such as seagrass, caning, bamboo, and rattan. For her urban dwelling she adds tropical greenery and flowers to enliven the interiors, and her eco-friendly family lodge, immersed in the bush wilderness, is surrounded by lush plantings. International designers and artists who have inspired her are also profiled from sustainable architect Elora Hardy to designers India Hicks, Nate Berkus, and Kenneth Cobonpue. Full of design and entertaining ideas, Embracing Natural Design is for those who are interested in achieving an environmentally conscious lifestyle.

Living in Japan - 40th Edition So rich and unique is traditional Japanese architecture that it’s nearly impossible to improve upon. Yet contemporary Japanese designers and architects keep finding fresh approaches to refurbish and take inspiration from the ways of old. Whether it’s a pristinely preserved traditional house or a sleek modern apartment, the best Japanese homes share a love of cleverly designed spaces and warm materials like wood, brick, and bamboo. From a thatched roof farmhouse occupied by a Zen priest to Tadao Ando’s experimental 4x4 House, from Shigeru Ban’s conceptual Shutter House to a beautiful domestic homage to bamboo, this elegant compendium traverses the multifaceted landscape of Japanese living today. Enriched by 170 brand new, unpublished photographs, this edition takes you on breathtaking journey through the Land of the Rising Sun―complete with a list of addresses, should you wish to undertake this journey to Japan’s most fascinating inns and homes yourself. An insightful glossary of key terms, such as tatami, shoji, and noren, will also help you come to grips with all elements of Japan’s unique aesthetic of Eastern minimalism. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program―now more compact, friendly in price, and still realized with the same commitment to impeccable production. Prikaži više

Dylan Thomas - Under Milk Wood A Play For Voices Penguin, 2000. Mek povez, 76 strana, potpis bivseg vlasnika. RETKO! Under Milk Wood is a 1954 radio drama by Welsh poet Dylan Thomas. The BBC commissioned the play, which was later adapted for the stage. A film version directed by Andrew Sinclair, was released in 1972, and another adaptation of the play, directed by Pip Broughton, was staged for television for the 60th anniversary in 2014. An omniscient narrator invites the audience to listen to the dreams and innermost thoughts of the inhabitants of the fictional small Welsh fishing town, Llareggub, (buggerall spelt backwards). They include Mrs. Ogmore-Pritchard, relentlessly nagging her two dead husbands; Captain Cat, reliving his seafaring times; the two Mrs. Dai Breads; Organ Morgan, obsessed with his music; and Polly Garter, pining for her dead lover. Later, the town awakens, and, aware now of how their feelings affect whatever they do, we watch them go about their daily business. Origins and development Background The Coach & Horses in Tenby, where Thomas is reputed to have been so drunk that he left his manuscript to Under Milk Wood on a stool In 1931, the 17-year-old Thomas created a piece for the Swansea Grammar School magazine that included a conversation of Milk Wood stylings, between Mussolini and Wife, similar to those between Mrs. Ogmore-Pritchard and her two husbands that would later be found in Under Milk Wood.[1] In 1933, Thomas talked at length with his mentor and friend, Bert Trick,[2] about creating a play about a Welsh town: He read it to Nell and me in our bungalow at Caswell around the old Dover stove, with the paraffin lamps lit at night ... the story was then called Llareggub, which was a mythical village in South Wales, a typical village, with terraced houses with one ty bach to about five cottages and the various characters coming out and emptying the slops and exchanging greetings and so on; that was the germ of the idea which ... developed into Under Milk Wood.[3] In February 1937, Thomas outlined his plans for a Welsh Journey, following a route that would “be decided by what incidents arose, what people told me stories, what pleasant or unpleasant or curious things...I encountered in the little-known villages among the lesser-known people.” [4] A year later, in March 1938, Thomas suggested that a group of Welsh writers should prepare a verse-report of their `own particular town, village, or district.`[5] Laugharne In May 1938, the Thomas family moved to Laugharne, a small town on the estuary of the river Tâf in Carmarthenshire, Wales. They lived there intermittently[6] for just under two years until July 1941, but did not return to live there until 1949.[7] The author Richard Hughes, who lived in Laugharne, has recalled that Thomas spoke to him in 1939 about writing a play about Laugharne in which the townsfolk would play themselves,[8] an idea pioneered on the radio by Cornish villagers in the 1930s.[9] Four years later, in 1943, Thomas again met Hughes, and this time outlined a play about a Welsh village certified as mad by government inspectors.[10] Hughes was of the view that when Thomas `came to write Under Milk Wood, he did not use actual Laugharne characters.`[11] Nevertheless, there are some elements of Laugharne that are discernible in the play. A girl, age 14, named Rosie Probert (`Rosie Probert, thirty three Duck Lane. Come on up, boys, I`m dead.`) was living in Horsepool Road in Laugharne at the 1921 census.[12] Although there is no-one of that name in Laugharne in the 1939 War Register,[13] nor anyone named Rosie, Laugharne resident, Jane Dark, has described how she told Thomas about her.[14] Dark has also described telling Thomas about the ducks of Horsepool Road (`Duck Lane`) and the drowning of the girl who went in search of them.[15] Both Laugharne and Llareggub have a castle,[16] and, like Laugharne, Llareggub is on an estuary (`boat-bobbing river and sea`), with cockles, cocklers and Cockle Row. Laugharne also provides the clock tower of Myfanwy Price`s dreams,[17] as well as Salt House Farm which may have inspired the name of Llareggub`s Salt Lake Farm.[18] Llareggub`s Butcher Beynon almost certainly draws on butcher and publican Carl Eynon, though he was not in Laugharne but in nearby St Clears.[19] New Quay In September 1944, the Thomas family moved to a bungalow called Majoda on the cliffs outside New Quay, Cardiganshire (Ceredigion), Wales, and left in July the following year. Thomas had previously visited New Quay whilst living in nearby Talsarn in 1942–1943,[20] and had an aunt and cousins living in New Quay.[21] He had written a New Quay pub poem, Sooner than you can water milk, in 1943,[22] which has several words and ideas that would later re-appear in Under Milk Wood.[23] Thomas` bawdy letter-poem from New Quay to T. W. Earp, written just days after moving into Majoda,[24] contains the name `No-good`, anticipating Nogood Boyo of Under Milk Wood. Thomas`s wife, Caitlin, has described the year at Majoda as `one of the most important creative periods of his life...New Quay was just exactly his kind of background, with the ocean in front of him ... and a pub[25] where he felt at home in the evenings.`[26] Thomas` biographers have taken a similar view. His time there, recalled Constantine FitzGibbon, his first biographer, was `a second flowering, a period of fertility that recalls the earliest days … [with a] great outpouring of poems`, as well as a good deal of other material.[27] Biographer Paul Ferris agreed: “On the grounds of output, the bungalow deserves a plaque of its own.”[28] Thomas’ third biographer, George Tremlett, concurred, describing the time in New Quay as “one of the most creative periods of Thomas’s life.” [29] Some of those who knew him well, including FitzGibbon, have said that Thomas began writing Under Milk Wood in New Quay.[30] The play`s first producer, Douglas Cleverdon, agreed, noting that Thomas `wrote the first half within a few months; then his inspiration seemed to fail him when he left New Quay.`[31] One of Thomas` closest friends and confidantes, Ivy Williams of Brown`s Hotel, Laugharne, has said `Of course, it wasn’t really written in Laugharne at all. It was written in New Quay, most of it.`[32] The writer and puppeteer, Walter Wilkinson, visited New Quay in 1947, and his essay on the town captures its character and atmosphere as Thomas would have found it two years earlier.[33] Photos of New Quay in Thomas` day, as well as a 1959 television programme about the town, can be found here.[34] There were many milestones[35] on the road to Llareggub, and these have been detailed by Professor Walford Davies in his Introduction to the definitive edition of Under Milk Wood.[36] The most important of these was Quite Early One Morning,[37] Thomas` description of a walk around New Quay, broadcast by the BBC in 1945, and described by Davies as a `veritable storehouse of phrases, rhythms and details later resurrected or modified for Under Milk Wood.`[38] For example, the “done-by-hand water colours” of Quite Early One Morning appear later as the “watercolours done by hand” of Under Milk Wood.[39] Another striking example from the 1945 broadcast is Mrs Ogmore-Pritchard who later appears as a major character in Under Milk Wood: Open the curtains, light the fire, what are servants for? I am Mrs. Ogmore-Pritchard and I want another snooze. Dust the china, feed the canary, sweep the drawing-room floor; And before you let the sun in, mind he wipes his shoes. Mrs Ogmore Davies[40] and Mrs Pritchard-Jones[41] both lived on Church Street in New Quay.[42] Mrs Pritchard-Jones was constantly cleaning, recalled one of her neighbours, `a real matron-type, very strait-laced, house-proud, ran the house like a hospital ward.`[43] In her book on New Quay, Mrs Pritchard-Jones’ daughter notes that her mother had been a Queen`s Nurse before her marriage and afterwards `devoted much of her time to cleaning and dusting our home ... sliding a small mat under our feet so we would not bring in any dirt from the road.`[44] Jack Lloyd, a New Quay postman and the Town Crier, also lived on Church Street.[45] He provided the character of Llareggub`s postman Willy Nilly, whose practice of opening letters, and spreading the news, reflects Lloyd`s role as Town Crier, as Thomas himself noted on a work sheet for the play: `Nobody minds him opening the letters and acting as [a] kind of town-crier. How else could they know the news?`[46] It is this note, together with our knowledge that Thomas knew Jack Lloyd (`an old friend`),[47] that establish the link between Willy Nilly and Lloyd.[48] There were also other New Quay residents in Under Milk Wood. Dai Fred Davies the donkeyman on board the fishing vessel, the Alpha, appears in the play as Tom-Fred the donkeyman.[49] Local builder, Dan Cherry Jones,[50] appears as Cherry Owen in the play, as Cherry Jones in Thomas’ sketch of Llareggub,[51] and as Cherry Jones in one of Thomas` work sheets for the play, where Thomas describes him as a plumber and carpenter.[52] The time-obsessed, `thin-vowelled laird`, as Thomas described him,[53] New Quay`s reclusive English aristocrat, Alastair Hugh Graham, lover of fish, fishing and cooking, and author of Twenty Different Ways of Cooking New Quay Mackerel,[54] is considered to be the inspiration for `Lord Cut-Glass … that lordly fish-head nibbler … in his fish-slimy kitchen ... [who] scampers from clock to clock`.[55] Third Drowned’s question at the beginning of the play “How’s the tenors in Dowlais?” reflects the special relationship that once existed between New Quay and Dowlais, an industrial town in South Wales. Its workers traditionally holidayed in New Quay and often sang on the pier on summer evenings.[56] Such was the relationship between the two towns that when St Mair`s church in Dowlais was demolished in 1963,[57] its bell was given to New Quay`s parish church.[58] Other names and features from New Quay in the play include Maesgwyn farm [59] the Sailor`s Home Arms,[60] the river Dewi,[61] the quarry,[62] the harbour,[63] Manchester House,[64] the hill of windows[65] and the Downs.[66] The Fourth Drowned`s line `Buttermilk and whippets` also comes from New Quay,[67] as does the stopped clock in the bar of the Sailors` Arms.[68][69] Walford Davies has concluded that New Quay `was crucial in supplementing the gallery of characters Thomas had to hand for writing Under Milk Wood.[70] FitzGibbon had come to a similar conclusion many years earlier, noting that Llareggub `resembles New Quay more closely [than Laugharne] and many of the characters derive from that seaside village in Cardiganshire...`[71] John Ackerman has also suggested that the story of the drowned village and graveyard of Llanina, that lay in the sea below Majoda, `is the literal truth that inspired the imaginative and poetic truth` of Under Milk Wood.[72] Another part of that literal truth were the 60 acres of cliff between New Quay and Majoda, including Maesgwyn farm, that collapsed into the sea in the early 1940s.[73] Elba, South Leigh and Prague In April 1947, Thomas and family went to Italy. He intended to write a radio play there, as his letters home make clear.[74] Several words and phrases that appear in Under Milk Wood can be found in some of Thomas’ letters from the island of Elba, where he stayed for three weeks. The `fishers and miners` and `webfooted waterboys` [75] of the letters become the `fishers` and `webfoot cocklewomen` of the first page of Under Milk Wood.[76] The `sunblack` and `fly-black` adjectives of Elba anticipate the `crowblack` and `bible-black` descriptions of Llareggub. The play`s Fourth Drowned, Alfred Pomeroy Jones, `died of blisters`, and so, almost, did Thomas, as he vividly describes in a letter home.[75] And, in time, the island`s `blister-biting blimp-blue bakehouse sea` would re-appear as Llareggub`s `slow, black, crowblack, fishingboat-bobbing sea.`[77] On their return from Italy in August 1947, the Thomases moved to South Leigh, near Witney in Oxfordshire, where Thomas declared his intent to work further on the play.[78] It was here that he knocked the play into shape, as one biographer described it.[79] There are various accounts of his work on the play at South Leigh, where he lived until May 1949.[80] He also worked on filmscripts here, including The Three Weird Sisters, which includes the familiar Llareggub names of Daddy Waldo and Polly Probert. Just a month or so after moving to South Leigh, Thomas met the BBC producer, Philip Burton, in the Café Royal in London, where he outlined his ideas for `The Village of the Mad…a coastal town in south Wales which was on trial because they felt it was a disaster to have a community living in that way… For instance, the organist in the choir in the church played with only the dog to listen to him…A man and a woman were in love with each other but they never met… they wrote to each other every day…And he had the idea that the narrator should be like the listener, blind.…`[81] Burton`s friendship with Thomas, and his influence on the play, has been set within the context of the work done by Burton and T. Rowland Hughes in developing community portraiture on the radio.[82] Thomas went to Prague in March 1949 for a writers’ conference. His guide and interpreter, Jiřina Hauková, has recalled that, at a party, Thomas `narrated the first version of his radio play Under Milk Wood`. She mentions that he talked about the organist who played to goats and sheep, as well as a baker with two wives.[83] Another at the party remembered that Thomas also talked about the two Voices.[84] The testimony from Prague, when taken with that of Burton about the meeting in the Café Royal in 1947, indicates that several of the characters of the play were already in place by the time Thomas had moved to the Boat House in Laugharne in May 1949: the organist, the two lovers who never met but wrote to each other, the baker with two wives, the blind narrator and the Voices. The first known sighting of a script for the play was its first half, titled The Town that was Mad, which Thomas showed to the poet Allen Curnow in October 1949 at the Boat House.[85] A draft first half of the play was delivered to the BBC in late October 1950.[86] It consisted of thirty-five handwritten pages containing most of the places, people and topography of Llareggub, and which ended with the line `Organ Morgan`s at it early…` A shortened version of this first half was published in Botteghe Oscure in May 1952 with the title Llareggub. A Piece for Radio Perhaps. By the end of that year, Thomas had been in Laugharne for just over three years, but his half-play had made little progress since his South Leigh days. On 6 November 1952, he wrote to the editor of Botteghe Oscure to explain why he hadn`t been able to `finish the second half of my piece for you.` He had failed shamefully, he said, to add to `my lonely half of a looney maybe-play`.[87] America Thomas gave a reading of the unfinished play to students at Cardiff University in March 1953.[88] He then travelled to America in April to give the first public readings of the play, even though he had not yet written its second half. He gave a solo reading of the first half on 3 May at the Fogg Museum, Harvard, where the audience responded enthusiastically.[89] Rehearsals for the play`s premiere on 14 May had already started but with only half the play, and with Thomas unavailable as he left to carry out a series of poetry readings and other engagements. He was up at dawn on 14 May to work on the second half, and he continued writing on the train between Boston and New York, as he travelled to the 92nd Street Y`s Poetry Center for the premiere. With the performance just 90 minutes away, the `final third of the play was still unorganised and but partially written.`[90] The play`s producer, Liz Reitell, locked Thomas in a room to continue work on the script, the last few lines of which were handed to the actors as they were preparing to go on stage.[91] Thomas subsequently added some 40 new lines to the second half for the play`s next reading in New York on 28 May. The former Salad Bowl Café, Tenby 2–3 The Croft, the former Salad Bowl Café Blue plaque indicating that Thomas first read from Under Milk Wood on 2 October 1953 On his return to Laugharne, Thomas worked in a desultory fashion on Under Milk Wood throughout the summer.[92] His daughter, Aeronwy, noticed that his health had `visibly deteriorated. ... I could hear his racking cough. Every morning he had a prolonged coughing attack. ... The coughing was nothing new but it seemed worse than before.`[93] She also noted that the blackouts that Thomas was experiencing were `a constant source of comment` amongst his Laugharne friends.[94] Thomas gave readings of the play in Porthcawl and Tenby,[95] before travelling to London to catch his plane to New York for another tour, including three readings of Under Milk Wood. He stayed with the comedian Harry Locke, and worked on the play, re-writing parts of the first half, and writing Eli Jenkins` sunset poem and Waldo`s chimney sweep song for the second half.[96] Locke noticed that Thomas was very chesty, with `terrible` coughing fits that made him go purple in the face.[97] On 15 October 1953, Thomas delivered another draft of the play to the BBC, a draft that his producer, Douglas Cleverdon, described as being in `an extremely disordered state...it was clearly not in its final form.`[98] On his arrival in New York on 20 October 1953, Thomas added a further 38 lines to the second half, for the two performances on 24 and 25 October. Thomas had been met at the airport by Liz Reitell, who was shocked at his appearance: `He was very ill when he got here.`[99] Thomas` agent John Brinnin, deeply in debt and desperate for money, also knew Thomas was very ill, but did not cancel or curtail his programme, a punishing schedule of four rehearsals and two performances of Under Milk Wood in just five days, as well as two sessions of revising the play.[100] After the first performance on 24 October, Thomas was close to collapse, standing in his dressing room, clinging to the back of a chair. The play, he said, `has taken the life out of me for now.`[101] At the next performance, the actors realised that Thomas was very ill and had lost his voice: `He was desperately ill … we didn`t think that he would be able to do the last performance because he was so ill … Dylan literally couldn`t speak he was so ill … still my greatest memory of it is that he had no voice.`[102] After a cortisone injection, he recovered sufficiently to go on stage. The play`s cast noticed Thomas` worsening illness during the first three rehearsals, during one of which he collapsed. Brinnin was at the fourth and was shocked by Thomas` appearance: `I could barely stop myself from gasping aloud. His face was lime-white, his lips loose and twisted, his eyes dulled, gelid, and sunk in his head.`[103] Then through the following week, Thomas continued to work on the script for the version that was to appear in Mademoiselle, and for the performance in Chicago on 13 November. However, he collapsed in the early hours of 5 November and died in hospital on 9 November 1953. Inspiration The inspiration for the play has generated intense debate. Thomas himself declared on two occasions that his play was based on Laugharne,[104] but this has not gone unquestioned. Llansteffan, Ferryside and particularly New Quay also have their claims. An examination of these respective claims was published in 2004.[105] Surprisingly little scholarship has been devoted to Thomas and Laugharne, and about the town`s influence on the writing of Under Milk Wood.[106] Thomas’ four years at the Boat House were amongst his least productive, and he was away for much of the time. As his daughter, Aeronwy, has recalled, `he sought any pretext to escape.`[107] Douglas Cleverdon has suggested that the topography of Llareggub `is based not so much on Laugharne, which lies on the mouth of an estuary, but rather on New Quay, a seaside town...with a steep street running down to the harbour.” [108] The various topographical references in the play to the top of the town, and to its ‘top and sea-end’ are also suggestive of New Quay, as are Llareggub`s terraced streets and hill of windows.[109] The play is even true to the minor topographical details of New Quay. For example, Llareggub`s lazy fishermen walk uphill from the harbour to the Sailors` Arms. Thomas drew a sketch map of the fictional town, which is now held by the National Library of Wales and can be viewed online.[110] The Dylan Thomas scholar, James Davies, has written that `Thomas`s drawing of Llareggub is... based on New Quay`[111] and there has been very little disagreement, if any, with this view. An examination of the sketch has revealed some interesting features: Thomas uses the name of an actual New Quay resident, Dan Cherry Jones, for one of the people living in Cockle Street. The Rev. Eli Jenkins is not in the sketch, however, and there are also three characters in the sketch who do not appear in the draft of the play given by Thomas to the BBC in October 1950.[112] Thomas also seems to have drawn on New Quay in developing Llareggub`s profile as an ocean-going, schooner and harbour town, as he once described it.[113] Captain Cat lives in Schooner House. He and his sailors have sailed the clippered seas, as First Voice puts it. They have been to San Francisco, Nantucket and more, bringing back coconuts and parrots for their families. The Rev. Eli Jenkins` White Book of Llareggub has a chapter on shipping and another on industry, all of which reflect New Quay`s history of both producing master mariners[114] and building ocean-going ships, including schooners.[115] In his 1947 visit to New Quay, Walter Wilkinson noted that the town “abounds” in sea captains [116] The following year, another writer visiting New Quay noted that there were “dozens of lads who knew intimately the life and ways of all the great maritime cities of the world.”[117] Llareggub`s occupational profile as a town of seafarers, fishermen, cockle gatherers and farmers has also been examined through an analysis of the returns in the 1939 War Register for New Quay, Laugharne, Ferryside and Llansteffan. This analysis also draws upon census returns and the Welsh Merchant Mariners Index. It shows that New Quay and Ferryside provide by far the best fit with Llareggub`s occupational profile.[118] Thomas is reported to have commented that Under Milk Wood was developed in response to the atomic bombing of Hiroshima, as a way of reasserting the evidence of beauty in the world.[119] It is also thought that the play was a response by Thomas both to the Nazi concentration camps, and to the internment camps that had been created around Britain during World War II.[120] Llareggub A boat bearing the name of the fictional location of Under Milk Wood The fictional name Llareggub was derived by reversing the phrase `bugger all`.[121] In some published editions of the play,[122] it is often rendered (contrary to Thomas`s own use - see below) as Llaregyb or similar. It is pronounced [ɬaˈrɛɡɪb].[123] The name bears some resemblance to many actual Welsh place names, which often begin with Llan, meaning church or, more correctly, sanctified enclosure, although a double g is not used in written Welsh. The name Llareggub was first used by Thomas in two short stories published in 1936. They were The Orchards[124] (`This was a story more terrible than the stories of the reverend madmen in the Black Book of Llareggub.`) and The Burning Baby[125] (`Death took hold of his sister`s legs as she walked through the calf-high heather up the hill... She was to him as ugly as the sowfaced woman Llareggub who had taught him the terrors of the flesh.`) Thomas’ first known use of the name Llareggub in relation to Under Milk Wood was at a recitation of an early version of the play at a party in London in 1945.[126] Thomas had also referred to the play as The Village of the Mad or The Town that was Mad.[127] By the summer of 1951, he was calling the play Llareggub Hill[128] but by October 1951, when the play was sent to Botteghe Oscure,[129] its title had become Llareggub. A Piece for Radio Perhaps. By the summer of 1952, the title was changed to Under Milk Wood because John Brinnin thought Llareggub Hill would be too thick and forbidding to attract American audiences.[130] In the play, the Rev Eli Jenkins writes a poem that describes Llareggub Hill and its `mystic tumulus`. This was based on a lyrical description of Twmbarlwm`s `mystic tumulus` in Monmouthshire that Thomas imitated from Arthur Machen`s autobiography Far Off Things (1922).[131] The town`s name is thought to be the inspiration for the country of Llamedos (sod `em all) in Terry Pratchett`s Discworld novel Soul Music.[132] In this setting, Llamedos is a parody of Wales. Plot The play opens at night, when the citizens of Llareggub are asleep. The narrator (First Voice/Second Voice) informs the audience that they are witnessing the townspeople`s dreams. Captain Cat, the blind sea captain, is tormented in his dreams by his drowned shipmates, who long to live again and enjoy the pleasures of the world. Mog Edwards and Myfanwy Price dream of each other; Mr. Waldo dreams of his childhood and his failed marriages; Mrs. Ogmore-Pritchard dreams of her deceased husbands. Almost all of the characters in the play are introduced as the audience witnesses a moment of their dreams. Morning begins. The voice of a guide introduces the town, discussing the facts of Llareggub. The Reverend Eli Jenkins delivers a morning sermon on his love for the village. Lily Smalls wakes and bemoans her pitiful existence. Mr. and Mrs. Pugh observe their neighbours; the characters introduce themselves as they act in their morning. Mrs. Cherry Owen merrily rehashes her husband`s drunken antics. Butcher Beynon teases his wife during breakfast. Captain Cat watches as Willy Nilly the postman goes about his morning rounds, delivering to Mrs. Ogmore-Pritchard, Mrs. Pugh, Mog Edwards and Mr. Waldo. At Mrs. Organ-Morgan`s general shop, women gossip about the townspeople. Willy Nilly and his wife steam open a love letter from Mog Edwards to Myfanwy Price; he expresses fear that he may be in the poor house if his business does not improve. Mrs. Dai Bread Two swindles Mrs. Dai Bread One with a bogus fortune in her crystal ball. Polly Garter scrubs floors and sings about her past paramours. Children play in the schoolyard; Gwennie urges the boys to `kiss her where she says or give her a penny.` Gossamer Beynon and Sinbad Sailors privately desire each other. During dinner, Mr. Pugh imagines poisoning Mrs. Pugh. Mrs. Organ-Morgan shares the day`s gossip with her husband, but his only interest is the organ. The audience sees a glimpse of Lord Cut-Glass`s insanity in his `kitchen full of time`. Captain Cat dreams of his lost lover, Rosie Probert, but weeps as he remembers that she will not be with him again. Nogood Boyo fishes in the bay, dreaming of Mrs. Dai Bread Two and geishas. On Llareggub Hill, Mae Rose Cottage spends a lazy afternoon wishing for love. Reverend Jenkins works on the White Book of Llareggub, which is a history of the entire town and its citizens. On the farm, Utah Watkins struggles with his cattle, aided by Bessie Bighead. As Mrs. Ogmore-Pritchard falls asleep, her husbands return to her. Mae Rose Cottage swears that she will sin until she explodes. The Sailor`s Home Arms, New Quay, now known as the Seahorse Inn, which provided the name for the Sailors Arms[133] As night begins, Reverend Jenkins recites another poem. Cherry Owen heads to the Sailor`s Arms, where Sinbad still longs for Gossamer Beynon. The town prepares for the evening, to sleep or otherwise. Mr. Waldo sings drunkenly at the Sailors Arms. Captain Cat sees his drowned shipmates—and Rosie—as he begins to sleep. Organ-Morgan mistakes Cherry Owen for Johann Sebastian Bach on his way to the chapel. Mog and Myfanwy write to each other before sleeping. Mr. Waldo meets Polly Garter in a forest. Night begins and the citizens of Llareggub return to their dreams again. Characters Captain Cat – The old blind sea captain who dreams of his deceased shipmates and lost lover Rosie Probert. He is one of the play`s most important characters as he often acts as a narrator. He comments on the goings-on in the village from his window. Rosie Probert – Captain Cat`s deceased lover, who appears in his dreams. Myfanwy Price – The sweetshop-keeper who dreams of marrying Mog Edwards. Mr. Mog Edwards – The draper, enamoured of Myfanwy Price. Their romance, however, is restricted strictly to the letters they write one another and their interactions in their dreams. Jack Black – The cobbler, who dreams of scaring away young couples. Evans the Death – The undertaker, who dreams of his childhood. Mr. Waldo – Rabbit catcher, barber, herbalist, cat doctor, quack, dreams of his mother and his many unhappy, failed marriages. He is a notorious alcoholic and general troublemaker and is involved in an affair with Polly Garter. Mrs. Ogmore-Pritchard – The owner of a guesthouse, who dreams of nagging her two late husbands. She refuses to let anyone stay at the guesthouse because of her extreme penchant for neatness. Mr. Ogmore – Deceased, Linoleum salesman, late of Mrs. Ogmore-Pritchard. Mr. Pritchard – Deceased, failed bookmaker, late of Mrs. Ogmore-Pritchard. He committed suicide `ironically` by ingesting disinfectant. Gossamer Beynon – The schoolteacher (daughter of Butcher Beynon), dreams of a fox-like illicit love. During the day, she longs to be with Sinbad Sailors, but the two never interact. Organ Morgan – The church organ player has perturbed dreams of music and orchestras within the village. His obsession with music bothers his wife intensely. Mrs. Organ Morgan – A shop owner who dreams of `silence,` as she is disturbed during the day by Organ Morgan`s constant organ-playing. Mr. & Mrs. Floyd – The cocklers, an elderly couple, seemingly the only couple to sleep peacefully in the village. They are mentioned only during the dream sequence and when Mrs Floyd is `talking flatfish` with Nogood Boyo. Utah Watkins – The farmer, dreams of counting sheep that resemble his wife. Ocky Milkman – The milkman, dreams of pouring his milk into a river, `regardless of expense`. Mr. Cherry Owen – Dreams of drinking and yet is unable to, as the tankard turns into a fish, which he drinks. Mrs. Cherry Owen – Cherry Owen`s devoted wife, who cares for him and delights in rehashing his drunken antics. Police Constable Attila Rees – The policeman, relieves himself into his helmet at night, knowing somehow he will regret this in the morning. Mr. Willy Nilly – The postman, dreams of delivering the post in his sleep, and physically knocks upon his wife as if knocking upon a door. In the morning they open the post together and read the town`s news so that he can relay it around the village. Mrs. Willy Nilly – who, because of her husband`s knocking upon her, dreams of being spanked by her teacher for being late for school. She assists Willy Nilly in steaming open the mail. Mary Ann Sailors – 85 years old, dreams of the Garden of Eden. During the day she announces her age (`I`m 85 years, 3 months and a day!`) to the town. Sinbad Sailors – The barman, dreams of Gossamer Beynon, whom he cannot marry because of his grandmother`s disapproval. Mae Rose Cottage – Seventeen and never been kissed, she dreams of meeting her `Mr. Right`. She spends the day in the fields daydreaming and unseen, draws lipstick circles around her nipples. Bessie Bighead – Hired help, dreams of the one man that kissed her `because he was dared`. Butcher Beynon – The butcher, dreams of riding pigs and shooting wild giblets. During the day he enjoys teasing his wife about the questionable meat that he sells. Mrs. Butcher Beynon – Butcher Beynon`s wife, dreams of her husband being `persecuted` for selling `owl`s meat, dogs` eyes, manchop.` Rev. Eli Jenkins – The reverend, poet and preacher, dreams of Eisteddfodau. Author of the White Book of Llareggub. Mr. Pugh – Schoolmaster, dreams of poisoning his domineering wife. He purchases a book named `Lives of the Great Poisoners` for ideas on how to kill Mrs. Pugh; however, he does not do it. Mrs. Pugh – The nasty and undesirable wife of Mr. Pugh. Dai Bread – The bigamist baker who dreams of harems. Mrs. Dai Bread One – Dai Bread`s first wife, traditional and plain. Mrs. Dai Bread Two – Dai Bread`s second wife, a mysterious and sultry gypsy. Polly Garter – has affairs with married men of the village, and a young mother, who dreams of her many babies. During the day, she scrubs floors and sings of her lost love. Nogood Boyo – A lazy young fisherman who dreams peevishly of `nothing`, though he later fantasises about Mrs. Dai Bread Two in a wet corset. He is known for causing shenanigans in the wash house. Lord Cut-Glass – A man of questionable sanity, who dreams of the 66 clocks that he keeps in his house, all telling different times. Lily Smalls – Dreams of love and a fantasy life. She is the Beynons` maid, but longs for a more exciting life. Gwennie – A child in Llareggub, who insists that her male schoolmates `kiss her where she says or give her a penny`. Publication and translation The first publication of Under Milk Wood, a shortened version of the first half of the play, appeared in Botteghe Oscure in April 1952.[134] Two years later, in February 1954, both The Observer newspaper and Mademoiselle magazine published abridged versions.[135] The first publications of the complete play were also in 1954: J. M. Dent in London in March and New Directions in America in April. An Acting Edition of the play was published by Dent in 1958. The Definitive Edition, with one Voice, came out in 1995, edited by Walford Davies and Ralph Maud and published by Dent. A Project Gutenberg of Australia eBook for free use went online in November 2006, produced by Colin Choat.[136] The first translation was published in November 1954 by Drei Brücken Verlag in Germany, as Unter dem Milchwald, translated by Erich Fried. A few months later, in January 1955, the play appeared in the French journal Les Lettres Nouvelles as Le Bois de Lait, translated by Roger Giroux, with two further instalments in February and March.[137] Over the next three years, Under Milk Wood was published in Dutch, Polish, Danish, Estonian, Norwegian, Finnish, Swedish, Japanese and Italian. It`s estimated that it has now been translated into over thirty languages, including Welsh with a translation by T. James Jones, (Jim Parc Nest), published in 1968 as Dan Y Wenallt.[138] The original manuscript of the play was lost by Thomas in a London pub, a few weeks before his death in 1953. The alleged gift of the manuscript, to BBC producer Douglas Cleverdon, formed the subject of litigation in Thomas v Times Book Co (1966), which is a leading case on the meaning of gift in English property law. Under Milk Wood, along with all other published works by Thomas, entered the public domain in the United Kingdom on 1 January 2024.[139] Dylan Marlais Thomas (27 October 1914 – 9 November 1953)[1] was a Welsh poet and writer whose works include the poems `Do not go gentle into that good night` and `And death shall have no dominion`, as well as the `play for voices` Under Milk Wood. He also wrote stories and radio broadcasts such as A Child`s Christmas in Wales and Portrait of the Artist as a Young Dog. He became widely popular in his lifetime; and remained so after his death at the age of 39 in New York City.[2] By then, he had acquired a reputation, which he had encouraged, as a `roistering, drunken and doomed poet`.[3] He was born in Uplands, Swansea, in 1914, leaving school in 1932 to become a reporter for the South Wales Daily Post. Many of his works appeared in print while he was still a teenager. In 1934, the publication of `Light breaks where no sun shines` caught the attention of the literary world. While living in London, Thomas met Caitlin Macnamara; they married in 1937 and had three children: Llewelyn, Aeronwy, and Colm. He came to be appreciated as a popular poet during his lifetime, though he found earning a living as a writer difficult. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940s brought him to the public`s attention, and he was frequently featured by the BBC as an accessible voice of the literary scene. Thomas first travelled to the United States in the 1950s; his readings there brought him a degree of fame; while his erratic behaviour and drinking worsened. His time in the United States cemented his legend; and he went on to record to vinyl such works as A Child`s Christmas in Wales. During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on 9 November and his body was returned to Wales. On 25 November, he was interred at St. Martin`s churchyard in Laugharne, Carmarthenshire. Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic, and ingenious use of words and imagery.[4][5][6][7] His position as one of the great modern poets has been much discussed, and he remains popular with the public.[8][9] Life and career Early life On a hill street stands a two-storeyed semi-detached house with bay windows to the front and a sloped tiled roof with a chimney. 5 Cwmdonkin Drive, Swansea, the birthplace of Dylan Thomas Dylan Thomas was born on 27 October 1914[nb 1] in Swansea, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John `Jack` Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth, and ambitions to rise above his position teaching English literature at the local grammar school.[10] Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior.[11] At the 1921 census, Nancy and Dylan are noted as speaking both Welsh and English.[12] Their parents were also bilingual in English and Welsh, and Jack Thomas taught Welsh at evening classes.[13] One of their Swansea relations has recalled that, at home, `Both Auntie Florrie and Uncle Jack always spoke Welsh.`[14] There are three accounts from the 1940s of Dylan singing Welsh hymns and songs, and of speaking a little Welsh.[15] Thomas`s father chose the name Dylan, which could be translated as `son of the sea` after Dylan ail Don, a character in The Mabinogion.[16] His middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.[11][17] Dylan, pronounced ˈ [ˈdəlan] (Dull-an) in Welsh, caused his mother to worry that he might be teased as the `dull one`.[18] When he broadcast on Welsh BBC early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation and gave instructions that it should be Dillan /ˈdɪlən/.[11][19] The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands),[20] in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.[17] Childhood Thomas has written a number of accounts of his childhood growing up in Swansea,[21] and there are also accounts available by those who knew him as a young child.[22] Thomas wrote several poems about his childhood and early teenage years, including `Once it was the colour of saying` and `The hunchback in the park`, as well as short stories such as The Fight and A Child`s Christmas in Wales.[23] Thomas`s four grandparents played no part in his childhood.[24] For the first ten years or so of his life, Thomas`s Swansea aunts and uncles helped with his upbringing. These were his mother`s three siblings, Polly and Bob, who lived in the St Thomas district of Swansea[25] and Theodosia, and her husband, the Rev. David Rees, in Newton, Swansea, where parishioners recall Thomas sometimes staying for a month or so at a time.[26] All four aunts and uncles spoke Welsh and English.[27] Thomas`s childhood also featured regular summer trips to the Llansteffan peninsula, a Welsh-speaking part of Carmarthenshire.[28] In the land between Llangain and Llansteffan, his mother`s family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them.[29] The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim Jones, is evoked in the 1945 lyrical poem `Fern Hill`,[30] but is portrayed more accurately in his short story, The Peaches.[nb 2] Thomas also spent part of his summer holidays with Jim`s sister, Rachel Jones,[31] at neighbouring Pentrewyman farm, where he spent his time riding Prince the cart horse, chasing pheasants and fishing for trout.[32] All these relatives were bilingual,[33] and many worshipped at Smyrna chapel in Llangain where the services were always in Welsh, including Sunday School which Thomas sometimes attended.[34] There is also an account of the young Thomas being taught how to swear in Welsh.[35] His schoolboy friends recalled that `It was all Welsh—and the children played in Welsh...he couldn`t speak English when he stopped at Fernhill...in all his surroundings, everybody else spoke Welsh...`[36] At the 1921 census, 95% of residents in the two parishes around Fernhill were Welsh speakers. Across the whole peninsula, 13%—more than 200 people—spoke only Welsh.[37] A few fields south of Fernhill lay Blaencwm,[38] a pair of stone cottages to which his mother`s Swansea siblings had retired,[39] and with whom the young Thomas and his sister, Nancy, would sometimes stay.[40] A couple of miles down the road from Blaencwm is the village of Llansteffan, where Thomas used to holiday at Rose Cottage with another Welsh-speaking aunt, Anne Williams, his mother`s half-sister[41] who had married into local gentry.[42] Anne`s daughter, Doris, married a dentist, Randy Fulleylove. The young Dylan also holidayed with them in Abergavenny, where Fulleylove had his practice.[43] Thomas`s paternal grandparents, Anne and Evan Thomas, lived at The Poplars in Johnstown, just outside Carmarthen. Anne was the daughter of William Lewis, a gardener in the town. She had been born and brought up in Llangadog,[44] as had her father, who is thought to be `Grandpa` in Thomas`s short story A Visit to Grandpa`s, in which Grandpa expresses his determination to be buried not in Llansteffan but in Llangadog.[45] Evan worked on the railways and was known as Thomas the Guard. His family had originated[46] in another part of Welsh-speaking Carmarthenshire, in the farms that lay around the villages of Brechfa, Abergorlech, Gwernogle and Llanybydder, and which the young Thomas occasionally visited with his father.[47] His father`s side of the family also provided the young Thomas with another kind of experience; many lived in the towns of the South Wales industrial belt, including Port Talbot,[48] Pontarddulais[49] and Cross Hands.[50] Thomas had bronchitis and asthma in childhood and struggled with these throughout his life. He was indulged by his mother, Florence, and enjoyed being mollycoddled, a trait he carried into adulthood, becoming skilled in gaining attention and sympathy.[51] But Florence would have known that child deaths had been a recurring event in the family`s history,[52] and it`s said that she herself had lost a child soon after her marriage.[53] But if Thomas was protected and spoilt at home, the real spoilers were his many aunts and older cousins, those in both Swansea and the Llansteffan countryside.[54] Some of them played an important part in both his upbringing and his later life, as Thomas`s wife, Caitlin, has observed: `He couldn`t stand their company for more than five minutes... Yet Dylan couldn`t break away from them, either. They were the background from which he had sprung, and he needed that background all his life, like a tree needs roots.`.[55] Education The main surviving structure of the former Swansea Grammar School on Mount Pleasant, mostly destroyed during the Swansea Blitz of 1941, was renamed the Dylan Thomas Building in 1988 to honour its former pupil. It was then part of the former Swansea Metropolitan University campus Memorial plaque on the former Mount Pleasant site of Swansea Grammar School Thomas`s formal education began at Mrs Hole`s dame school, a private school on Mirador Crescent, a few streets away from his home.[56] He described his experience there in Reminiscences of Childhood: Never was there such a dame school as ours, so firm and kind and smelling of galoshes, with the sweet and fumbled music of the piano lessons drifting down from upstairs to the lonely schoolroom, where only the sometimes tearful wicked sat over undone sums, or to repent a little crime – the pulling of a girl`s hair during geography, the sly shin kick under the table during English literature.[57] Alongside dame school, Thomas also took private lessons from Gwen James, an elocution teacher who had studied at drama school in London, winning several major prizes. She also taught `Dramatic Art` and `Voice Production`, and would often help cast members of the Swansea Little Theatre (see below) with the parts they were playing.[58] Thomas`s parents` storytelling and dramatic talents, as well as their theatre-going interests, could also have contributed to the young Thomas`s interest in performance.[59] In October 1925, Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. There are several accounts by his teachers and fellow pupils of Thomas`s time at grammar school. [60] He was an undistinguished pupil who shied away from school, preferring reading and drama activities.[61] In his first year one of his poems was published in the school`s magazine, and before he left he became its editor.[62][63] Thomas`s various contributions to the school magazine can be found here:[64] During his final school years he began writing poetry in notebooks; the first poem, dated 27 April (1930), is entitled `Osiris, come to Isis`.[65] In June 1928, Thomas won the school`s mile race, held at St. Helen`s Ground; he carried a newspaper photograph of his victory with him until his death.[66][67] In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, where he remained for some 18 months.[68] After leaving the newspaper, Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.[11] On the stage A wide three storied building with windows to the upper two stories and an entrance on the ground floor. A statue of Thomas sits outside. The Little Theatre relocated to Swansea`s Maritime Quarter in 1979 and was renamed the Dylan Thomas Theatre in 1983 The stage was also an important part of Thomas`s life from 1929 to 1934, as an actor, writer, producer and set painter. He took part in productions at Swansea Grammar School, and with the YMCA Junior Players and the Little Theatre, which was based in the Mumbles. It was also a touring company that took part in drama competitions and festivals around South Wales.[69] Between October 1933 and March 1934, for example, Thomas and his fellow actors took part in five productions at the Mumbles theatre, as well as nine touring performances.[70] Thomas continued with acting and production throughout his life, including his time in Laugharne, South Leigh and London (in the theatre and on radio), as well as taking part in nine stage readings of Under Milk Wood.[71] The Shakespearian actor, John Laurie, who had worked with Thomas on both the stage[72] and radio[73] thought that Thomas would `have loved to have been an actor` and, had he chosen to do so, would have been `Our first real poet-dramatist since Shakespeare.`[74] Painting the sets at the Little Theatre was just one aspect of the young Thomas`s interest in art. His own drawings and paintings hung in his bedroom in Cwmdonkin Drive, and his early letters reveal a broader interest in art and art theory.[75] Thomas saw writing a poem as an act of construction `as a sculptor works at stone,`[76] later advising a student `to treat words as a craftsman does his wood or stone...hew, carve, mould, coil, polish and plane them...`[77] Throughout his life, his friends included artists, both in Swansea[78] and in London,[79] as well as in America.[80] In his free time, Thomas visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea`s pubs, especially the Antelope and the Mermaid Hotels in Mumbles.[81][82] In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins and the musician and composer, Daniel Jones with whom, as teenagers, Thomas had helped to set up the `Warmley Broadcasting Corporation`.[83] This group of writers, musicians and artists became known as `The Kardomah Gang`.[84] This was also the period of his friendship with Bert Trick, a local shopkeeper, left-wing political activist and would-be poet,[85] and with the Rev. Leon Atkin, a Swansea minister, human rights activist and local politician.[86] In 1933, Thomas visited London for probably the first time.[nb 3] London, 1933–1939 Thomas was a teenager when many of the poems for which he became famous were published: `And death shall have no dominion`, `Before I Knocked` and `The Force That Through the Green Fuse Drives the Flower`. `And death shall have no dominion` appeared in the New English Weekly in May 1933.[11] When `Light breaks where no sun shines` appeared in The Listener in 1934, it caught the attention of three senior figures in literary London, T. S. Eliot, Geoffrey Grigson and Stephen Spender.[17][88][89] They contacted Thomas and his first poetry volume, 18 Poems, was published in December 1934. 18 Poems was noted for its visionary qualities which led to critic Desmond Hawkins writing that the work was `the sort of bomb that bursts no more than once in three years`.[11][90] The volume was critically acclaimed and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir.[17] The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors including Philip Larkin.[91] In May 1934, Thomas made his first visit to Laugharne, `the strangest town in Wales`, as he described it in an extended letter to Pamela Hansford Johnson, in which he also writes about the town`s estuarine bleakness, and the dismal lives of the women cockle pickers working the shore around him.[92] The following year, in September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship.[93] Thomas introduced Watkins, working at Lloyds Bank at the time, to his friends, now known as The Kardomah Gang. In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt. On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him.[94] Years later, his wife Caitlin would still have to prepare his eggs for him.[95][96] In December 1935, Thomas contributed the poem `The Hand That Signed the Paper` to Issue 18 of the bi-monthly New Verse.[97] In 1936, his next collection Twenty-five Poems, published by J. M. Dent, also received much critical praise.[17] Two years later, in 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. During this time Thomas`s reputation for heavy drinking developed.[90][98] By the late 1930s, Thomas was embraced as the `poetic herald` for a group of English poets, the New Apocalyptics.[99] Thomas refused to align himself with them and declined to sign their manifesto. He later stated that he believed they were `intellectual muckpots leaning on a theory`.[99] Despite this, many of the group, including Henry Treece, modelled their work on Thomas`s.[99] In the politically charged atmosphere of the 1930s Thomas`s sympathies were very much with the radical left, to the point of his holding close links with the communists; he was also decidedly pacifist and anti-fascist.[100] He was a supporter of the left-wing No More War Movement and boasted about participating in demonstrations against the British Union of Fascists.[100] Bert Trick has provided an extensive account of an Oswald Mosley rally in the Plaza cinema in Swansea in July 1933 that he and Thomas attended.[101] Marriage In early 1936, Thomas met Caitlin Macnamara (1913–1994), a 22-year-old dancer of Irish and French Quaker descent.[102] She had run away from home, intent on making a career in dance, and aged 18 joined the chorus line at the London Palladium.[103][104][105] Introduced by Augustus John, Caitlin`s lover, they met in The Wheatsheaf pub on Rathbone Place in London`s West End.[103][105][106] Laying his head in her lap, a drunken Thomas proposed.[104][107] Thomas liked to assert that he and Caitlin were in bed together ten minutes after they first met.[108] Although Caitlin initially continued her relationship with John, she and Thomas began a correspondence, and in the second half of 1936 were courting.[109] They married at the register office in Penzance, Cornwall, on 11 July 1937.[110] In May 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire.[111] They lived there intermittently[112] for just under two years until July 1941, and did not return to live in Laugharne until 1949.[113] Their first child, Llewelyn Edouard, was born on 30 January 1939.[114] Wartime, 1939–1945 In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as The Map of Love.[115] Ten stories in his next book, Portrait of the Artist as a Young Dog (1940), were based less on lavish fantasy than those in The Map of Love and more on real-life romances featuring himself in Wales.[11] Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.[116] Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield near Chippenham in Gloucestershire.[nb 4] There Thomas collaborated with Davenport on the satire The Death of the King`s Canary, though due to fears of libel the work was not published until 1976.[118][119] At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as `an unreliable lung`. Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus.[120] After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.[nb 5] Saddened to see his friends going on active service, he continued drinking and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income.[11] Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.[122] In February 1941, Swansea was bombed by the Luftwaffe in a `three nights` blitz`. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded: `Our Swansea is dead`.[123] Thomas later wrote a feature programme for the radio, Return Journey, which described the café as being `razed to the snow`.[124] The programme, produced by Philip Burton, was first broadcast on 15 June 1947. The Kardomah Café reopened on Portland Street after the war.[125] Making films In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge: Wales: Green Mountain, Black Mountain, New Towns for Old, Fuel for Battle, Our Country and A City Reborn.[126][127][128] In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London.[129] Thomas hoped to find employment in the film industry and wrote to the director of the films division of the Ministry of Information.[11] After being rebuffed, he found work with Strand Films, providing him with his first regular income since the South Wales Daily Post.[130] Strand produced films for the MOI; Thomas scripted at least five films in 1942, This Is Colour (a history of the British dyeing industry) and New Towns For Old (on post-war reconstruction). These Are The Men (1943) was a more ambitious piece in which Thomas`s verse accompanies Leni Riefenstahl`s footage of an early Nuremberg Rally.[nb 6] Conquest of a Germ (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis. Our Country (1945) was a romantic tour of Britain set to Thomas`s poetry.[132][133] In early 1943, Thomas began a relationship with Pamela Glendower, one of several affairs he had during his marriage.[134] The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.[134] In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London.[134] They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.[135] Escaping to Wales The Thomas family also made several escapes back to Wales. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire.[136] Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named.[137] Some of Thomas`s letters from Gelli can be found in his Collected Letters[138] whilst an extended account of Thomas`s time there can be found in D. N. Thomas`s book, Dylan Thomas: A Farm, Two Mansions and a Bungalow (2000).[139] The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera`s friendship with the Thomases in nearby New Quay is portrayed in the 2008 film The Edge of Love.[140][nb 7] In July 1944, with the threat in London of German flying bombs, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire,[141] where he resumed writing poetry, completing `Holy Spring` and `Vision and Prayer`.[142] In September that year, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay.[143] It was there that Thomas wrote a radio piece about New Quay, Quite Early One Morning, a sketch for his later work, Under Milk Wood.[144] Of the poetry written at this time, of note is Fern Hill, started while living in New Quay, continued at Blaencwm in July and August 1945 and first published in October 1945 [145][nb 8] Thomas`s nine months in New Quay, said first biographer, Constantine FitzGibbon, were `a second flowering, a period of fertility that recalls the earliest days…[with a] great outpouring of poems`, as well as a good deal of other material.[146] His second biographer, Paul Ferris, agreed: `On the grounds of output, the bungalow deserves a plaque of its own.`[147] Thomas`s third biographer, George Tremlett, concurred, describing the time in New Quay as `one of the most creative periods of Thomas`s life.`[148] Professor Walford Davies, who co-edited the 1995 definitive edition of the play, has noted that New Quay `was crucial in supplementing the gallery of characters Thomas had to hand for writing Under Milk Wood.`[149] Broadcasting years, 1945–1949 The Boat House, Laugharne, the Thomas family home from 1949 Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk titled `Reminiscences of Childhood` for the Welsh BBC. In December 1944, he recorded Quite Early One Morning (produced by Aneirin Talfan Davies, again for the Welsh BBC) but when Davies offered it for national broadcast BBC London turned it down.[144] On 31 August 1945, the BBC Home Service broadcast Quite Early One Morning and, in the three years beginning in October 1945, Thomas made over a hundred broadcasts for the corporation.[150] Thomas was employed not only for his poetry readings, but for discussions and critiques.[151][152] In the second half of 1945, Thomas began reading for the BBC Radio programme, Book of Verse, broadcast weekly to the Far East.[153] This provided Thomas with a regular income and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.[154] On 29 September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided opportunities for Thomas.[155] He appeared in the play Comus for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus`s Agamemnon and Satan in an adaptation of Paradise Lost.[154][156] Thomas remained a popular guest on radio talk shows for the BBC, who regarded him as `useful should a younger generation poet be needed`.[157] He had an uneasy relationship with BBC management and a staff job was never an option, with drinking cited as the problem.[158] Despite this, Thomas became a familiar radio voice and within Britain was `in every sense a celebrity`.[159] Dylan Thomas`s writing shed By late September 1945, the Thomases had left Wales and were living with various friends in London.[160] In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A.J.P. Taylor. His wife, Margaret, would prove to be Thomas`s most committed patron.[161] The publication of Deaths and Entrances in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator, `This book alone, in my opinion, ranks him as a major poet`.[162] Italy, South Leigh and Prague... The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.[163] On their return, Thomas and family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor. He continued with his work for the BBC, completed a number of film scripts and worked further on his ideas for Under Milk Wood,[164] including a discussion in late 1947 of The Village of the Mad (as the play was then called) with the BBC producer Philip Burton. He later recalled that, during the meeting, Thomas had discussed his ideas for having a blind narrator, an organist who played for a dog and two lovers who wrote to each other every day but never met.[165] In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers` Union. Jiřina Hauková, who had previously published translations of some of Thomas`s poems, was his guide and interpreter.[nb 9] In her memoir, Hauková recalls that at a party in Prague, Thomas `narrated the first version of his radio play

It's Only Rock 'N' Roll: Thirty Years With A Rolling Stone When young model and mother Jo met rock star Ronnie Wood, she had no idea what her brief flirtation with this brilliant, charismatic musician would become. This is a moving and candid memoir from the woman who married the most controversial member of the Rolling Stones, and had the strength and courage to bounce back from heartbreak. A raw and rollicking narrative from the eye of the storm, Jo’s extraordinary story of life as a Rolling Stone girlfriend, then wife, mother and more, is a never-before-heard account of the heady hedonistic Ronnie Wood years – the drugs, the roadies, the tours, and the booze – and a celebration of her new-found happiness as an entrepreneur, fashion icon and beauty expert. Following the public breakdown of her marriage, Jo moved on with a dignity and lack of bitterness that won her fans across the country. Now a successful businesswoman, a passionate campaigner of pure, organic living, and a thriving name in fashion, Jo has learnt to embrace her new found vitality, and in doing so has become the heroine of everyone from 20-something fashionistas to Strictly Come Dancing devotees. This is Jo’s journey, from the breathtaking highs of her and Ronnie’s shared infatuation and love, to the devastating lows of his sudden disappearances, drug-induced mania and seizures, and how she learned to walk away without regret or bitterness, and forgive. Published in hardback as ‘Hey Jo’.

Original, made in EU Novo, u celofanu RETKO Projekat basiste Doug-a Wimbish-a (Living Colour, Rolling Stones...) Line-up Gesang: Dacia Bridges (Dacia & The WMD – feat. Lemmy Kilmister, Tape, I Begin To Wonder, Shakedown, Mousse T.) Bass: Doug Wimbish (Living Colour, Tackhead, Sugar Hill Gang, Rolling Stones, Jeff Beck, Depeche Mode) Schlagzeug: Florian Dauner (Die Fantastischen Vier, Paul van Dyk, Sarah Brightman, Dee Phazz) Gitarre: Alexander Scholpp (Farmer Boys, Tarja Turunen, Tieflader, Dacia & The WMD) Douglas Arthur Wimbish (born September 22, 1956) is an American bass player, primarily known for being a member of rock band Living Colour and funk/dub/hip hop collective Tackhead, and as a session musician with artists such as Sugarhill Gang,[1] Grandmaster Flash and the Furious Five, The Rolling Stones, Mick Jagger, Depeche Mode, James Brown, Annie Lennox, and Barrington Levy (as well as his studio work for the rap/hip hop label Sugarhill Records and the experimental dub label On-U Sound). Contents 1 Biography and career 2 Gear 3 Discography 4 References 5 External links Biography and career Born in Hartford, Connecticut, Wimbish started playing guitar at the age of 12 and switched to bass guitar at the age of 14. In 1979 he was hired together with guitarist Skip McDonald and drummer Keith LeBlanc to form the house rhythm section for Sugarhill Records. Although they did not play on the Sugarhill Gang`s famous song `Rapper`s Delight` (the rhythm tracks for this song were played by the group Positive Force), they did play on many other popular song tracks, including `The Message` by Grandmaster Flash and the Furious Five, `White Lines` by Grandmaster Flash and Melle Mel, `New York City` by Grandmaster Flash and the Furious Five, and `Apache` by the Sugarhill Gang. Wimbish with Living Colour, Vienna 1993 Wimbish with Little Axe (2009) Together with McDonald and LeBlanc, Wimbish headed to London in 1984 and started working with producer Adrian Sherwood and formed the group Tackhead. Together with Tackhead and as a session bassist, Wimbish found himself in demand as a bass player for many artists and was considered as a permanent sideman for the Rolling Stones after the departure of bassist Bill Wyman in 1993, but lost the position to Darryl Jones. In the late 1980s Wimbish began crossing paths with vocalist Bernard Fowler, who collaborated with Tackhead and Little Axe. Both sang on records by the Rolling Stones, and Wimbish later played on the Stones` 1997 album Bridges to Babylon. Wimbish joined Living Colour in 1992 (he replaced Muzz Skillings, who left the band) to tour and record the album, Stain. Living Colour disbanded in 1995, and Wimbish joined his old Sugarhill Gang partners to play in Little Axe, an ambient-dub project initiated by Skip `Little Axe` MacDonald. After Living Colour disbanded, Wimbish went back to London to continue his career as a studio bassist. In 1999 he formed the drum and bass group Jungle Funk together with drummer Will Calhoun and percussionist/vocalist Vinx. Also in 1999, Wimbish solo album Trippy Notes for Bass was released. In 2000, Living Colour was re-formed and toured in the United States, South America and Europe. In 2001 and 2002 Wimbish recorded and played with rapper Mos Def in a band called BlackJack Johnson, which also featured members of P-Funk and Bad Brains in the lineup. Wimbish also formed Head Fake, a drum and bass project with drummer Will Calhoun. They released a CD, In The Area. In 2005 they started recording new songs. The recording took place in Brussels, Belgium and was followed by an extensive European tour. The CD has never been released. A Head>>Fake DVD was released in 2008. It features a recording of a Head>>Fake concert in Prague. In 2008 Wimbish, signed with Enja Records, and released his second solo album, CinemaSonics. In 2009, Living Colour released and toured for the album `The Chair in the Doorway`. Wimbish was also featured on six Little Axe albums with Alan Glen on harmonica. Gear Wimbish has endorsed Ibanez[2] and Spector bass guitars.[3] Discography Solo albums Trippy Notes for Bass (1999) CinemaSonics (2008) With Madonna Erotica (Warner Bros. Records, 1992) With Mick Jagger Primitive Cool (Columbia Records, 1987) Wandering Spirit (Atlantic Records, 1993) With Candi Staton Nightlitles (Sugar Hill Records, 1982) With Gary Go Gary Go (Decca Records, 2009) With Steven Van Zandt Freedom – No Compromise (EMI, 1987) With Carly Simon Spoiled Girl (Epic Records, 1985) Letters Never Sent (Arista Records, 1994) With Ronnie Wood Slide on This (Continuum Records, 1992) With Nona Hendryx The Heat (RCA Records, 1985) With Sheena Easton No Sound But a Heart (EMI, 1987) With Al Green Don`t Look Back (BMG, 1993) With Annie Lennox Diva (Arista Records, 1992) Medusa (Arista Records, 1995) With Michael Bolton The Hunger (Columbia Records, 1987) With Naomi Campbell Baby Woman (Epic Records, 1994) The Help ‎– ...Is On The Way Label: Ratzer Records ‎– none, Cargo Records ‎– none Format: CD, Album Country: Germany Released: 12 Apr 2012 Genre: Rock Style: Blues Rock Tracklist 1 American Dream 2 Late Late Show 3 HAL 4 After Dark 5 Echoes 6 Bump The Grind 7 Whatever 8 Call Me 9 Farcaster

Encounters: A Photographic Journey Join Sunday Times bestselling author, award-winning explorer and photographer Levison Wood on his extraordinary journeys around the world - vividly revealed in his first photography book. 'A compelling visual record of a career spent at the extremes.' Sunday Telegraph 'Levison Wood's new book is all the travelling you need to do this year... Bringing together 140 of his most striking photos, selected from over a decade on the road, it offers a stunning portrait of the vastly different places, people and lives the world contains - and which most of us will never see.' Gentleman's Journal From images documenting his time in war zones to encounters with communities who have returned to traditional ways of life in the face of ecological disasters, Wood's photographs offer a unique insight into the resilience and resourcefulness of those living in some of the least accessible places on the planet. Chapters include Frontiers, Wood's intrepid ventures to remote environments; Conflict, covering not only the front-line battles but also the long-term devastation of war; Heritage, documenting his observations on ancient practices co-existing with modern technology; and Community, his record of the universal importance of family roots, cultural identities and community ties. With his unique experiences in extraordinary locations and his eye for compelling compositions, Wood has created a powerful collection of images that celebrates humanity in all its variety. Prikaži više

PRODAJEM DISK IZ LICNE KOLEKCIJE! Jethro Tull The Very Best, Bug Izdanje stanje diska skoro nov, Prednji Omot 2 strane - ocena 5. Dogovor preko Kupindo Poruka ------------------------------------ Jethro Tull – The Very Best Label: Not On Label (Jethro Tull) – 3857-86436-2 Format: CD, Compilation, Unofficial Release Country: Europe Released: Genre: Rock, Blues Style: Art Rock, Prog Rock Tracklist 1 Teacher 4:09 2 Living In The Past 3:25 3 Aqualung 6:39 4 Locomotive Breath 4:26 5 Bungle In The Jungle 3:40 6 Minstrel In The Gallery 8:13 7 Too Old To Rock `N` Roll: Too Young To Die 5:30 8 Songs From The Wood 4:54 9 Old Ghosts 4:20 10 Working John - Working Joe 5:05 11 Broadsword 4:54 12 Said She Was A Dancer 3:43 13 Steel Monkey 3:40 14 Kissing Willie 3:33 15 Sleeping With The Dog 4:25 16 This Is Not Love 3:55

The Folklore Of Discworld NOW UPDATED to include material on the Discworld books up to Raising Steam. Most of us grow up having always known to touch wood or cross our fingers, and what happens when a princess kisses a frog or a boy pulls a sword from a stone, yet sadly some of these things are now beginning to be forgotten. Legends, myths, fairytales: our world is made up of the stories we told ourselves about where we came from and how we got there. It is the same on Discworld, except that beings which on Earth are creatures of the imagination - like vampires, trolls, witches and, possibly, gods - are real, alive and in some cases kicking on the Disc. In The Folklore of Discworld, Terry Pratchett teams up with leading British folklorist Jacqueline Simpson to take an irreverent yet illuminating look at the living myths and folklore that are reflected, celebrated and affectionately libelled in the uniquely imaginative universe of Discworld.

Ike & Tina Turner - Rockin` And Rollin` Originalno izdanje sa bukletom. Knjizica ima 4 strane. Made in EU Ocuvanost CD: 5- (jedna mala crtica i dve-tri sitne tackice, ne utice na rad) Omot/knjizica: 5-/4+++ (papir na par mesta blago pozuteo - videti slike) Spisak pesama: 01 Stagger Lee 2:46 02 River Deep Mountain High 4:06 03 Nutbush City Limits 2:58 04 Sweet Rhode Island Red 3:35 05 Stand By Me 3:45 06 Mississippi Rolling Stone 3:32 07 Rockin` And Rollin` 3:09 08 Turn You Loose 2:40 09 Beauty Is Just Skin Deep 2:17 10 Living For The City 3:34 11 Come Together 3:36 12 Get Back 3:01 13 Shame, Shame, Shame 2:53 14 Locomotion 2:20 15 You Paid Me Back With My Own Coins 4:31 16 Sugar Sugar 4:00 17 Knock On Wood 2:35 18 Proud Mary 2:36 Stanje mozete videti na slikama. Zanrovi: rock, funk, soul, pop pvs2r13

Cabin Style An up-close look at some of the most exclusive architect-designed cabins, ranch houses, and lodges located in popular resort areas. Stunning cabin exteriors and interiors, combined with well-told stories of the homes and their owners, take readers into the living rooms of cozy log, wood, and rock homes in Wyoming, Montana, Idaho, California, and Tennessee. Luxurious cabins lure the owners of second homes to relaxing weeks in isolated landscape settings or upscale enclaves--always within reach of ski resorts, fly-fishing rivers, and outdoor recreation of all types. The perfect gift for anyone planning, or dreaming of, a cabin home. Chase Reynolds Ewald has been writing about design, travel and lifestyle for 25 years. A graduate of Yale and the Graduate School of Journalism and U.C. Berkeley, she is currently Senior Editor of Western Art & Architecture Magazine.. She lives in Tiburon, California. Audrey Hall's images about culture, style, and travel are featured from social media to television. This is her eleventh book. She lives in Livingston, Montana.

Eames Nothing says modernist perfection like an Eames design The creative duo Charles Eames (1907 1978) and Ray Kaiser Eames (1912 1988) transformed the visual character of America. Though best known for their furniture, the husband and wife team were also forerunners in architecture, textile design, photography, and film. The Eames work defined a new, multifunctional modernity, exemplary for its integration of craft and design, as well as for the use of modern materials, notably plywood and plastics. The Eames Lounge Chair Wood, designed with molded plywood technology, became a defining furniture piece of the twentieth century, while the couple s contribution to the Case Study Houses project not only made inventive use of industrial materials but also developed an adaptable floor plan of multipurpose spaces which would become a hallmark of postwar modern architecture. From the couple s earliest furniture experiments to their seminal short film Powers of Ten, this book covers all the aspects of the illustrious Eames repertoire and its revolutionary impact on middle-class American living.

Ando: Updated Version The Tadao touch. Ando's complete works to date 1975-2014. Philippe Starck describes him as a "mystic in a country which is no longer mystic." Philip Drew calls his buildings "land art" as they "struggle to emerge from the earth." He is the only architect to have won the discipline's four most prestigious prizes: the Pritzker, Carlsberg, Praemium Imperiale, and Kyoto Prize. His name is Tadao Ando, and he is one of the greatest living architects. Combining influences from Japanese tradition with the best of Modernism, Ando has developed a completely unique building aesthetic that makes use of concrete, wood, water, light, space, and nature in a way that has never been witnessed in architecture. His designs include award-winning private homes, churches, museums, apartment complexes, and cultural spaces throughout Japan, as well as in France, Italy, Spain, and the USA. This book, created at the height of Ando's illustrious career, and thoroughly updated for this new 2014 edition, presents his complete works to date.

Entangled Life: How Fungi Make Our Worlds There is a lifeform so strange and wondrous that it forces us to rethink how life works. Neither plant nor animal, it is found throughout the earth, the air and our bodies. It can be microscopic, yet also accounts for the largest organisms ever recorded, living for millennia and weighing tens of thousands of tonnes. Its ability to digest rock enabled the first life on land, it can survive unprotected in space, and thrives amidst nuclear radiation. In this captivating adventure, Merlin Sheldrake explores the spectacular and neglected world of fungi: endlessly surprising organisms that sustain nearly all living systems. They can solve problems without a brain, stretching traditional definitions of ‘intelligence’, and can manipulate animal behaviour with devastating precision. In giving us bread, alcohol and life-saving medicines, fungi have shaped human history, and their psychedelic properties, which have influenced societies since antiquity, have recently been shown to alleviate a number of mental illnesses. The ability of fungi to digest plastic, explosives, pesticides and crude oil is being harnessed in break-through technologies, and the discovery that they connect plants in underground networks, the ‘Wood Wide Web’, is transforming the way we understand ecosystems. Yet they live their lives largely out of sight, and over ninety percent of their species remain undocumented. Entangled Life is a mind-altering journey into this hidden kingdom of life, and shows that fungi are key to understanding the planet on which we live, and the ways we think, feel and behave. The more we learn about fungi, the less makes sense without them. Prikaži više

The Morning Star The breathtaking new novel from the internationally bestselling author of My Struggle, 'the literary sensation of the decade' (Sunday Times) One long night in August, Arne and Tove are staying with their children in their summer house in southern Norway. Kathrine, a priest, is flying home from a Bible seminar, questioning her marriage. Journalist Jostein is out drinking for the night, while his wife, Turid, a nurse at a psychiatric care unit, is on a nightshift when one of her patients escapes. Above them all, a huge star suddenly appears blazing in the sky. It brings with it a mysterious sense of foreboding. Strange things start to happen as nine lives come together under the star. Hundreds of crabs amass on the road as Arne drives at night; Jostein receives a call about a death metal band found brutally murdered in a Satanic ritual; Kathrine conducts a funeral service for a man she met at the airport - but is he actually dead? The Morning Star is about life in all its mundanity and drama, the strangeness that permeates our world, and the darkness in us all. Karl Ove Knausgaard's astonishing new novel goes to the utmost limits of freedom and chaos, to what happens when forces beyond our comprehension are unleashed, and the realms of the living and the dead collide. Praise for My Struggle: 'Tremendous, maddening, addictive, gripping' Observer 'Powerfully alive... intense and utterly honest' James Wood 'Beautifully human' The Times Prikaži više

50 For 50 DISK 1 1. Nothing Is Easy 2. Love Story 3. Beggar's Farm 4. Living In The Past 5. A Song For Jeffrey 6. A New Day Yesterday 7. The Witch's Promise 8. Mother Goose 9. With You There To Help Me 10. Teacher (US Version) 11. Life Is A Long Song 12. Sweet Dream 13. Aqualung 14. Minstrel In The Gallery 15. Critique Oblique (Stereo Mix) 16. Weathercock 17. Cross Eyed Mary DISK 2 1. Bouree 2. Dun Ringill 3. Heavy Horses 4. Hunting Girl 5. Bungle In The Jungle 6. Salamander 7. Pussy Willow 8. Too Old To Rock 'N' Roll 9. Songs From The Wood 10. The Whistler 11. Really Don't Mind/See There a Son Is Born 12. Moths 13. One White Duck/010 = Nothing At All 14. Cup Of Wonder 15. Ring Out Solstice Bells 16. Skating Away (On The Thin Ice Of The New Day) 17. A Christmas Song DISK 3 1. One Brown Mouse 2. Rare And Precious Chain 3. Kissing Willie 4. Rocks On The Road 5. Fylingdale Flyer 6. Paparazzi 7. North Sea Oil 8. Steel Monkey 9. Black Sunday 10. European Legacy 11. Budapest 12. Broadsword 13. Dot Com 14. Farm On The Freeway 15. This Is Not Love 16. Locomotive Breath

Original, made in UK Knjizica od 4 str. knjizica 4 Cd 4/4- Greatest hits album by Jethro Tull Released November 13, 1985[1] Genre Progressive rock Length 53:48 Label Chrysalis Jethro Tull chronology A Classic Case (1985) Original Masters (1985) Crest of a Knave (1987) Original Masters is a greatest hits album by Jethro Tull released under Chrysalis Records in 1985. It was the band`s third such effort, the first two being M.U. - The Best of Jethro Tull (1969–75, released 1976) and Repeat - The Best of Jethro Tull - Vol II (1969–75, released 1977). Although the compilation was released in 1985, it does not include material released after 1977. The first two compilations had material released exclusively up to 1977 and Original Masters covers much of that same material with a few extras. The CD`s back insert, as well as the back cover of the LP`s sleeve, mislabels the song `The Witch`s Promise` as `Witches Promise`. Track listing `Living in the Past` – 3:18 (released as a single, 1969) `Aqualung` (M.U. remix) – 6:34 (original version released on Aqualung, 1971 - this mix first released on M.U. - The Best of Jethro Tull, 1975) `Too Old to Rock `n` Roll: Too Young to Die` – 5:38 (released on Too Old to Rock `n` Roll: Too Young to Die!, 1976) `Locomotive Breath` – 4:23 (released on Aqualung, 1971) `Skating Away on the Thin Ice of the New Day` (intro edit) – 3:28 (released on War Child, 1974) `Bungle in the Jungle` – 3:34 (released on War Child, 1974) `Sweet Dream` – 4:01 (released as a single, 1969) `Songs from the Wood` – 4:52 (released on Songs from the Wood, 1977) `The Witch`s Promise` – 3:47 (released as a single, 1970) `Thick as a Brick` (Edit #1) – 3:00 (released as a single, in conjunction with Thick as a Brick, 1972 - this edit first released on M.U. - The Best of Jethro Tull, 1975) `Minstrel in the Gallery` – 7:47 (released on Minstrel in the Gallery, 1975) `Life`s a Long Song` – 3:16 (released on Life Is a Long Song EP, 1971)

Homes for Our Time: Contemporary Houses around the World Across small cottages and lavish villas, beach houses and forest refuges, discover the world’s finest crop of new homes. This cutting-edge global digest features such talents as Shigeru Ban, MVRDV, and Marcio Kogan alongside up-and-coming names like Aires Mateus, Xu Fu-Min, Vo Trong Nghia, Desai Chia, and Shunri Nishizawa. Here, there are homes in Australia and New Zealand, from China and Vietnam, in the United States and Mexico, and on to less expected places like Ecuador and Costa Rica. The result is a sweeping survey of the contemporary house and a revelation that homes across the globe may have more in common than expected. Among guava trees and abandoned forts in Western India is a sanctuary designed for and by Kamal Malik of Malik Architecture. The House of Three Streams is a sprawling spectacle with high ceilings, verandas, and pavilions, perched atop a ridge overlooking two ravines. A medley of steel, glass, wood, and stone, the house weaves along the contour of the landscape, almost as an extension of the forest. Encina House by Aranguren & Gallegos, an elegant, sloping structure reminiscent of a gazebo, similarly inhabits its surrounding vista. Ensconced in a pine forest north of Madrid, the lower level is embedded in rock and connected to the upper by a natural stone wall. Shinichi Ogawa’s Seaside House is an immaculate two-story minimalist marvel in Kanagawa that overlooks the Pacific. Its living area spills onto a cantilevered terrace and infinity pool, almost dissolving into the ocean as one seamless entity. In Vietnam, Shunri Nishizawa’s House in Chau Doc exudes tropical sophistication with exposed timber beams, woven bamboo, plants, concrete panels, and inner balconies and terraces. Its corrugated iron panels act as moveable walls and shutters, ushering in views of surrounding rice fields. These homes―along with more than 50 others―are each remarkably distinct in design. They all, however, toe the line between inside and outside, each one symbiotic with its surroundings. Prikaži više

Homes For Our Time: Contemporary Houses around the World - 40th Edition Across small cottages and lavish villas, beach houses and forest refuges, discover the world’s finest crop of new homes. This cutting-edge global digest features such talents as Shigeru Ban and Marcio Kogan alongside up-and-coming names like Aires Mateus, Xu Fu-Min, Vo Trong Nghia, Desai Chia, and Shunri Nishizawa. Here, there are homes in Australia and New Zealand, from China and Vietnam, in the United States and Mexico, and on to less expected places like Ecuador and Costa Rica. The result is a sweeping survey of the contemporary house and a revelation that homes across the globe may have more in common than expected. Among guava trees and abandoned forts in Western India is a sanctuary designed for and by Kamal Malik of Malik Architecture. The House of Three Streams is a sprawling spectacle with high ceilings, verandas, and pavilions, perched atop a ridge overlooking two ravines. A medley of steel, glass, wood, and stone, the house weaves along the contour of the landscape, almost as an extension of the forest. Encina House by Aranguren & Gallegos, an elegant, sloping structure reminiscent of a gazebo, similarly inhabits its surrounding vista. Ensconced in a pine forest north of Madrid, the lower level is embedded in rock and connected to the upper by a natural stone wall. Shinichi Ogawa’s Seaside House is an immaculate two-story minimalist marvel in Kanagawa that overlooks the Pacific. Its living area spills onto a cantilevered terrace and infinity pool, almost dissolving into the ocean as one seamless entity. In Vietnam, Shunri Nishizawa’s House in Chau Doc exudes tropical sophistication with exposed timber beams, woven bamboo, plants, concrete panels, and inner balconies and terraces. Its corrugated iron panels act as moveable walls and shutters, ushering in views of surrounding rice fields. These homes―along with more than 50 others―are each remarkably distinct in design. They all, however, toe the line between inside and outside, each one symbiotic with its surroundings. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program―now more compact, friendly in price, and still realized with the same commitment to impeccable production. Prikaži više

Milvoki, SAD 2016. Tvrd povez, kolor, engleski jezik, veliki format (30 cm), 128 strana. Grafička novela je nekorišćena (nova) This classic noir story sees a young woman in a 20th Century banana republic dragged into a suspense-filled thriller - now in luxurious hardback featuring rich, intriguing colors for the first time! Denaldo Reynoso is a down-on-his-luck ex-cop, kicked to the crub for daring to do his job in the corrupt Banana Republic of La Colonia. Now, no good to himself or anyone else, he agrees to help a captivating woman known far and wide in La Colonia, a living myth of perfect virtue and reported healing powers, a facade that conceals a sordid web of deceit and depravity as ugly as the illusion is beautiful. But Reynoso`s desperate grasp for redemption unleashes a plague of evils, none more lethal than the Iguana, an unstoppable assassin whose mission is to bury the truth... and anyone who threatens to reveal it! The Big Hoax shows all the richness of the wonderful graphic art of Roberto Mandrafina and unbeatable writing skills of late Carlos Trillo, who won the Best Scenario award for this album in 1999, at the International Comics Festival in Angouléme, France. Born in Buenos Aires, Carlos Trillo began a prolific career as writer at the age of 20, penning his first story for Patoruzú magazine. Trillo, together with Horacio Altuna, created the strip El Loco Chávez, which appeared every day at the back of the newspaper Clarín from July 26, 1975 to November 10, 1987. After that, the strip was replaced by El Negro Blanco, which he wrote for the artist Ernesto García Seijas until September 1993. He participated in the creation of several comics including his most notable work, Cybersix, in 1992, with Carlos Meglia, and the Clara de noche and Cicca Dum Dum series with Jordi Bernet. Trillo died in 2011 while on holiday with his wife. Domingo Roberto Mandrafina debuted in 1969 on the magazine Patoruzito. Two years later he illustrated the science fiction series Samos, written by Jorge Morhain for the magazine Billiken. In 1972 Mandrafina started his collaboration with Editorial Columba and the review Top. In 1978, he started illustrating the series Savarese, written by Robin Wood, published in the magazine D`artagnan. Later he worked for Ediciones Record (Lady Shadow and El condenado). His other works include Dragger (written by Carlos Trillo), Cosecha verde and Race of Scorpions, for the publisher Dark Horse Comics

made in Russia Knjizica od 4 str. Odlicno ocuvano knjizica 5 Cd 5 Studio album by the Rolling Stones Released 18 October 1974 Recorded During November 23 and December 14 1972; 12–24 November 1973; 8–13 February and 20 February – 3 March 1974 Studio Musicland (Munich)Stargroves (Newbury)Island (London) Genre Rock and rollhard rockblues rockfunk rock[1]reggae rock Length 48:26 Label Rolling Stones Producer The Glimmer Twins The Rolling Stones chronology Goats Head Soup (1973) It`s Only Rock `n Roll (1974) Black and Blue (1976) It`s Only Rock `n Roll is the 12th British and 14th American studio album by the English rock band the Rolling Stones, released on 18 October 1974 by Rolling Stones Records. It was the last Rolling Stones album to feature guitarist Mick Taylor; the songwriting and recording of the album`s title track had a connection to Taylor`s eventual replacement, Ronnie Wood. It`s Only Rock `n Roll combines the core blues and rock `n` roll–oriented sound with elements of funk and reggae.[1] It`s Only Rock `n Roll reached number one in the United States and number two in the UK. Though it was not as successful as their prior albums, It`s Only Rock `n Roll was an important transitional album for the Rolling Stones. Following the departure of long-time producer Jimmy Miller, the album was self-produced by guitarist Keith Richards and singer Mick Jagger under the pseudonym `The Glimmer Twins`. Taylor, bassist Bill Wyman and drummer Charlie Watts played on most of the tracks, while frequent collaborators Ian Stewart, Nicky Hopkins, and Billy Preston contributed additional instrumentation. The album featured the first appearance of percussionist Ray Cooper, who would continue to work with the Rolling Stones into the 1980s. The title track was recorded separately from the rest of the album. The basic rhythm track had been laid down by members of the Faces, including Wood and drummer Kenney Jones, during a jam session with Jagger, David Bowie, and bassist Willie Weeks. Jagger liked the song so much that he brought the basic track to Richards, who added some guitar overdubs, and after some polishing, it was put on the album as-is. In 1975, the band began auditioning guitarists including Jeff Beck, Wayne Perkins, Harvey Mandel and Rory Gallagher as possible replacements after the departure of Taylor, while recording the next studio album, Black and Blue (1976). History Work began on It`s Only Rock `n Roll following the Rolling Stones` autumn 1973 European tour. Production began in November at Munich, Germany`s Musicland Studios. According to guitarist Keith Richards, `We were really hot (off the road) and ready just to play some new material.`[2] The recording sessions were attended by Belgian painter Guy Peellaert, who Mick Jagger invited to do the album cover after seeing his work in the book Rock Dreams, which featured illustrations of various rock musicians such as the Rolling Stones. Peellaert eventually painted the band as `rock deities`, descending a temple staircase, surrounded by young girls and women worshiping them in Grecian clothing. The cover bears a very strong resemblance to Henri Gervex`s painting, The Coronation of Nicolas II (1896).[3] The artist refused to sign a deal of exclusivity, and in 1974 provided the album art for David Bowie`s Diamond Dogs.[4][5] Recording The album was at first developed as a half-live, half-studio production with one side of the album featuring live performances from the Stones` European tour while the other side was to be composed of newly recorded cover versions of the band`s favourite R&B songs. Covers recorded included a take of Dobie Gray`s `Drift Away`, Jimmy Reed`s `Shame Shame Shame`, and the Temptations` `Ain`t Too Proud to Beg`. Soon the band began working off riffs by Richards and new ideas by Mick Jagger and the original concept was scrapped in favour of an album with all-new material. The cover of `Ain`t Too Proud to Beg` was the only recording to make the cut, while the `Drift Away` cover is a popular bootleg.[6] It`s Only Rock `n Roll marked the Stones` first effort in the producer`s chair since Their Satanic Majesties Request, and the first for Jagger and Richards under their pseudonym `The Glimmer Twins`. On the choice to produce, Richards said at the time: `I think we`d come to a point with Jimmy (Miller) where the contribution level had dropped because it`d got to be a habit, a way of life, for Jimmy to do one Stones album a year. He`d got over the initial sort of excitement which you can feel on Beggars Banquet and Let It Bleed. Also, Mick and I felt that we wanted to try and do it ourselves because we really felt we knew much more about techniques and recording and had our own ideas of how we wanted things to go. Goats Head Soup hadn`t turned out as we wanted to – not blaming Jimmy or anything like that... But it was obvious that it was time for a change in that particular part of the process of making records.`[2] Starting with this release, all future Rolling Stones albums would either be produced by themselves or in collaboration with an outside producer. Most of the album`s backing tracks were recorded first at Musicland; solo vocals were recorded later by Jagger, about whom Richards would say, `he often comes up with his best stuff alone in the studio with just an engineer.`[2] The song `Luxury` showed the band`s growing interest in reggae music, while `Till the Next Goodbye` and `If You Really Want to Be My Friend` continued their immersion in ballads. Seven of the album`s 10 songs crack the four-minute mark, a feature that would come to be disparaged during the rising punk rock scene of the late 1970s. Ronnie Wood, a long-time acquaintance of the band, began to get closer to the Rolling Stones during these sessions after he invited Mick Taylor to play on his debut album, I`ve Got My Own Album to Do. Taylor spent some time recording and hanging out at Wood`s house, The Wick. By chance, Richards was asked one night by Wood`s wife at the time, Krissy, to join them at the guitarist`s home.[citation needed] While there, Richards recorded some tracks with Wood and quickly developed a close friendship, with Richards going as far as moving into Wood`s guest room.[citation needed] Jagger soon entered the mix and it was here that the album`s lead single and title track, `It`s Only Rock `n Roll (But I Like It)`, was first recorded. Wood worked closely on the track with Jagger, who subsequently took the song and title for their album. The released version of this song features Wood on 12-string acoustic guitar. It`s Only Rock `n Roll was Mick Taylor`s last album with the Rolling Stones. Similar to receiving no writing credits on the Stones` previous album, Goats Head Soup, Taylor reportedly had made songwriting contributions to `Till the Next Goodbye` and `Time Waits for No One`, but on the album jacket, all original songs were credited to Jagger/Richards. Taylor said in 1997: `I did have a falling out with Mick Jagger over some songs I felt I should have been credited with co-writing on It`s Only Rock `n Roll. We were quite close friends and co-operated quite closely on getting that album made. By that time Mick and Keith weren`t really working together as a team so I`d spend a lot of time in the studio.`[7] Taylor`s statement contradicts Jagger`s earlier comment concerning the album. Jagger stated in a 1995 Rolling Stone interview about `Time Waits for No One` that Taylor `maybe threw in a couple of chords`.[citation needed] Alongside the usual outside contributors, namely Billy Preston, Nicky Hopkins and unofficial member Ian Stewart, Elton John sideman Ray Cooper acted as percussionist for the album. Several songs were finished songs and overdubs and mixing were performed at Jagger`s home, Stargroves, in the early summer of 1974. Legacy Author James Hector added that It`s Only Rock `n Roll was a definitive turning point for the band. `The album marked the band’s decisive entry into a comfortable living as rock`s elder statesmen. From this point on, their youth culture importance vanished, and there would be few musical surprises in the future.` Hector concluded with `On It`s Only Rock `n Roll, the band had become what they imagined their mass audience desired them to be. They were wrong.`[25] In 1994, It`s Only Rock `n Roll was remastered and reissued by Virgin Records, in 2009 by Universal Music, and once more in 2011 by Universal Music Enterprises in a Japanese-only SHM-SACD version. The 1994 remaster was initially released in a Collector`s Edition CD, which replicated in miniature elements of the original vinyl album packaging. Two different versions of `Luxury` exist. A shorter version (4:30) is included on the early CD version from 1986, while the 5:01 version was originally released on vinyl in Europe, and on the 1994 and 2009 CD remasters. The difference is the shorter version starts the fadeout 30 seconds earlier, and thereby missing the short guitar solo at the end. Track listing All tracks are written by Mick Jagger and Keith Richards, except `Ain`t Too Proud to Beg` by Norman Whitfield and Eddie Holland. Side one No. Title Length 1. `If You Can`t Rock Me` 3:46 2. `Ain`t Too Proud to Beg` 3:30 3. `It`s Only Rock `n Roll (But I Like It)` 5:07 4. `Till the Next Goodbye` 4:37 5. `Time Waits for No One` 6:37 Side two No. Title Length 6. `Luxury` 5:00 7. `Dance Little Sister` 4:11 8. `If You Really Want to Be My Friend` 6:16 9. `Short and Curlies` 2:43 10. `Fingerprint File` 6:33 Personnel Track numbers noted in parenthesis below are based on the CD track numbering. The Rolling Stones Mick Jagger – lead vocals (all tracks), backing vocals (1–6, 9), acoustic guitar (4), electric guitar (10) Keith Richards – electric guitar (all including slide on 4), backing vocals (1–6, 8, 9), acoustic guitar (4, 8), bass guitar (1) Mick Taylor – electric guitar (1, 5, 7–9), acoustic guitar (4, 5), bass guitar (10), Synthesizer, Congas Bill Wyman – bass guitar (2, 4–9), synthesizer (5, 10) Charlie Watts – drums (all but 3) Additional personnel Nicky Hopkins – piano (4–6, 8, 10) Billy Preston – piano (1, 2, 10), clavinet (2, 10), organ (8) Ian Stewart – piano (3, 7, 9) Ray Cooper – percussion (1, 2, 5, 6) Blue Magic – backing vocals (8) Charlie Jolly – tabla (10) Ed Leach – cowbell (2) Basic track on `It`s Only Rock `n Roll (But I Like It)` Kenney Jones – drums Willie Weeks – bass guitar David Bowie – backing vocals Ronnie Wood – twelve–string acoustic guitar, backing vocals Production Andy Johns – recording engineer Keith Harwood – recording engineer, mixing George Chkiantz – overdub engineer Glyn Johns – mixing (on `Fingerprint File`) Guy Peellaert – cover art design and painting Bob Clearmountain – 1994 remastering

The Myth Of Sisyphus The summation of the existentialist philosophy threaded throughout all his writing, Albert Camus' The Myth of Sisyphus is translated by Justin O'Brien with an introduction by James Wood in Penguin Classics. In this profound and moving philosophical statement, Camus poses the fundamental question: is life worth living? If human existence holds no significance, what can keep us from suicide? As Camus argues, if there is no God to give meaning to our lives, humans must take on that purpose themselves. This is our 'absurd' task, like Sisyphus forever rolling his rock up a hill, as the inevitability of death constantly overshadows us. Written during the bleakest days of the Second World War, The Myth of Sisyphus (Le Mythe de Sisyphe) argues for an acceptance of reality that encompasses revolt, passion and, above all, liberty. This volume contains several other essays, including lyrical evocations of the sunlit cities of Algiers and Oran, the settings of his great novels The Outsider and The Plague. Albert Camus (1913-60) is the author of a number of best-selling and highly influential works, all of which are published by Penguin. They include The Fall, The Outsider and The First Man. Awarded the Nobel Prize for Literature in 1957, Camus is remembered as one of the few writers to have shaped the intellectual climate of post-war France, but beyond that, his fame has been international. If you enjoyed The Myth of Sisyphus, you might like Camus' The Outsider, also available in Penguin Modern Classics. 'Camus could never cease to be one of the principal forces in our domain, nor to represent, in his own way, the history of France and of this century' Jean-Paul Sartre Prikaži više

Moderni minimalizam sa japanskim dodirom Filip Stark ga opisuje kao „mistika u zemlji koja više nije mistična“. Drev Philip svoje zgrade naziva „land artom“ koji se „bore da izađu iz zemlje“. On je jedini arhitekta koji je osvojio četiri najprestižnije nagrade u disciplini: Pritzker, Carlsberg, Praemium Imperiale i Kioto nagradu. Njegovo ime je Tadao Ando i jedan je od najvećih živih arhitekata na svetu. Kombinujući uticaje japanske tradicije sa najboljim modernizmom, Ando je razvio potpuno jedinstvenu građevinsku estetiku koja koristi beton, drvo, vodu, svetlost, prostor i prirodu na način koji nikada nije zabeležen nigde drugde u arhitekturi. Ova knjiga pruža savršen uvod u Andov rad, uključujući privatne kuće, crkve, muzeje, stambene komplekse i kulturne prostore širom Japana, kao iu Francuskoj, Italiji, Španiji i SAD. O seriji: Svaka knjiga iz TASCHEN-ove serije Basic Architecture sadrži: uvod u život i rad arhitekte glavna dela hronološkim redom informacije o naručiocima, arhitektonskim preduslovima kao i građevinskim problemima i rešenjima spisak svih odabranih radova i mapu na kojoj su naznačene lokacije najboljih i najpoznatijih građevina oko 120 ilustracija (fotografije, skice, nacrti i planovi) Taschen / IPS 2008 96 strana Modern minimalism with a Japanese touch Philippe Starck describes him as a `mystic in a country which is no longer mystic.` Drew Philip calls his buildings `land art` that `struggle to emerge from the earth.` He is the only architect to have won the discipline`s four most prestigious prizes: the Pritzker, Carlsberg, Praemium Imperiale, and Kyoto Prize. His name is Tadao Ando, and he is one of the world`s greatest living architects. Combining influences from Japanese tradition with the best of Modernism, Ando has developed a completely unique building aesthetic that makes use of concrete, wood, water, light, space, and nature in a way that has never been witnessed elsewhere in architecture. This book provides the perfect introduction to Ando`s work, including private homes, churches, museums, apartment complexes, and cultural spaces throughout Japan, and in France, Italy, Spain, and the USA. About the Series: Each book in TASCHEN’s Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans)