Max Bill

Los ocho volúmenes de esta extraordinaria edición, de 1929 a 1970 fue publicado y desde entonces ha sido reeditado una y otra vez, documentar la amplia gama de trabajo de Le Corbusier. Documento que la labor de los arquitectos más influyentes del Siglo XX. En directa colaboración con Le Corbusier en más de 40 años, hace que el conjunto un único y exhaustivo inventario de sus edificios, proyectos, bocetos, libros, manifiestos, dibujos y textos, que el mundo de la arquitectura han cambiado.

Die acht Bände dieser außergewöhnlichen Edition, die zwischen 1929 und 1970 veröffentlicht wurde und seit dem immer wieder nachgedruckt wurde, dokumentiert die große Bandbreite des Werks von Le Corbusier. Sie dokumentieren das Werk des einflussreichsten Architekten des 20. Jahrhunderts. In direkter Zusammenarbeit mit Le Corbusier in über 40 Jahren entstanden, bildet das Set eine einzigartige und erschöpfende Bestandsaufnahme seiner Gebäude, Projekte, Skizzenhefte, Manifeste, Zeichnungen und Texte, welche die Welt der Architektur nachhaltig verändert haben.

The eight volumes of this extraordinary edition, the 1929 to 1970 was published and since has been reprinted again and again, documenting the wide range of work by Le Corbusier. They document the work of the most influential architects of the 20th Century. In direct collaboration with Le Corbusier in over 40 years, makes the set a unique and exhaustive inventory of its buildings, projects, sketches, books, manifestos, drawings and texts, which the world of architecture have changed.

Quante volte, a scuola, ci hanno esortati a non divagare? Ci sono poi materie - la matematica innanzitutto - che ancor meno di altre sembrano tollerare delle diversioni. Eppure Michele Emmer, tra i più noti matematici italiani, non esita a uscire dall'abituale tracciato logico-deduttivo che porta alla dimostrazione, per addentrarsi in animate vie laterali, dove i numeri incrociano storie di donne e di uomini, vanno al cinema, a teatro e alle mostre d'arte, si intendono di poesia, filosofia, letteratura e architettura. Insomma, prendono colore. «Sono molto stringati i lavori dei matematici, raccolgono solo i risultati giusti, non parlano dei dubbi, dei cambiamenti, degli errori. Sembrano tavole della legge immutabili, scritte così perché così dev'essere. Quando invece si narra, bisogna saper raccontare, non basta essere intelligenti»..

This seven-CD collection exhaustively documents Columbia Records' first attempt at niche marketing with the Piano Moods series. Born out an impromptu marketing plan by a small Columbia Records staff in 1950, the Piano Moods series was hatched from the marketing discovery that there were more pianos than phonographs (that's record players for all you kids who don't remember vinyl LPs) in the homes of postwar America. The 12" LP had been launched a scant two years before and few titles were available. The Piano Moods series linked 20 albums of the same general type, all of them produced and sequenced by George Avakian, who had created the jazz and pop catalog on LP for Columbia beginning in 1948 – though they were originally released 33 rpm 10" discs to keep the folks with all those 10" 78 rpm discs happy when it came to storage. The sides were cut – usually – with no spirals (spaces) between tunes, giving the side a longer feel than its 17 minutes because the music was continuous. Most pianists preset their sequences and prepared introductions of the key of the preceding tune that modulated into the key of the next one.

This seven-CD collection exhaustively documents Columbia Records' first attempt at niche marketing with the Piano Moods series. Born out an impromptu marketing plan by a small Columbia Records staff in 1950, the Piano Moods series was hatched from the marketing discovery that there were more pianos than phonographs (that's record players for all you kids who don't remember vinyl LPs) in the homes of postwar America. The 12" LP had been launched a scant two years before and few titles were available. The Piano Moods series linked 20 albums of the same general type, all of them produced and sequenced by George Avakian, who had created the jazz and pop catalog on LP for Columbia beginning in 1948 – though they were originally released 33 rpm 10" discs to keep the folks with all those 10" 78 rpm discs happy when it came to storage. The sides were cut – usually – with no spirals (spaces) between tunes, giving the side a longer feel than its 17 minutes because the music was continuous. Most pianists preset their sequences and prepared introductions of the key of the preceding tune that modulated into the key of the next one.