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  Herbert Simms - An Architect for...

  Lindie Naughton

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  Dublin's teeming slums, long regarded as the worst in Europe, were teetering on the brink of structural and sanitary public catastrophe during the early twentieth century. To tackle the crisis, Herbert Simms was appointed the city's first housing architect. During a sixteen-year period, from 1932 until 1948, Simms and his team planned, commissioned and built an astounding 17,000 homes –some as inner-city flat complexes, others as family houses in newly-created suburbs such as Crumlin and Cabra.
  Like the city's acclaimed Georgian squares, the Simms-designed Corporation flats in particular have stood the test of time, injecting a touch of art deco and modernist glamour to neglected neighbourhoods. This comprehensive guide to the Simms buildings also highlights the many struggles with politicians and bureaucrats Simms and his staff experienced as they did their best to build well-designed, affordable housing for the people of Dublin.

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  The Architecture Lover's Guide...

  Elizabeth F. Heath

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  An informed, photo-filled guide to “all of the essential stopping places [with] terrifically detailed information on the architectural joys of Rome.” —Books Monthly 
   
  Rome’s architectural remains date as far back as the city’s founding in the 8th century BCE. The primitive settlement that began on the Palatine Hill grew over the next thousand years to the caput mundi—the capital of the world—the largest, most powerful presence in the ancient Western world. Along the way, Rome’s architectural styles, whether developed organically or appropriated from the cultures it subjugated and absorbed, were physical evidence of the politics, propaganda, and pragmatism of the times. 
   
  Written for readers passionate about Rome and how its architecture is inimitably linked to its history, The Architecture Lover’s Guide to Rome is the armchair architect’s tour of the Eternal City. It provides a timeline that begins with the founding of Rome and documents its significant architectural monuments and styles through the millennia, with photos, maps and practical information for visiting.

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  Art - An Introductory Reader

  Rudolf Steiner

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  The being of the arts; Goethe as the founder of a new science of aesthetics; Technology and art; At the turn of each new millennium; The task of modern art and architecture; The living walls; The glass windows; Colour on the walls; Form - moving the circle; The seven planetary capitals of the first Goetheanum; The model and the statue 'The Representative of Man'; Colour and faces; Physiognomies.

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  Constable

  Victoria Charles

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  John Constable was the first English landscape painter to take no lessons from the Dutch. He is rather indebted to the landscapes of Rubens, but his real model was Gainsborough, whose landscapes, with great trees planted in well-balanced masses on land sloping upwards towards the frame, have a rhythm often found in Rubens. Constable’s originality does not lie in his choice of subjects, which frequently repeated themes beloved by Gainsborough. Nevertheless, Constable seems to belong to a new century; he ushered in a new era. The difference in his approach results both from technique and feeling. Excepting the French, Constable was the first landscape painter to consider as a primary and essential task the sketch made direct from nature at a single sitting; an idea which contains in essence the destinies of modern landscape, and perhaps of most modern painting. It is this momentary impression of all things which will be the soul of the future work. Working at leisure upon the large canvas, an artist’s aim is to enrich and complete the sketch while retaining its pristine freshness. These are the two processes to which Constable devoted himself, while discovering the exuberant abundance of life in the simplest of country places. He had the palette of a creative colourist and a technique of vivid hatchings heralding that of the French impressionists. He audaciously and frankly introduced green into painting, the green of lush meadows, the green of summer foliage, all the greens which, until then, painters had refused to see except through bluish, yellow, or more often brown spectacles. Of the great landscape painters who occupied so important a place in nineteenth-century art, Corot was probably the only one to escape the influence of Constable. All the others are more or less direct descendants of the master of East Bergholt.

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  Magnificent Obsession -...

  Hollywood Stage Productions

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  Hollywood is indelibly printed in our minds as the ‘go-to’ place for entertainment and has been for decades.  When there really did seem to be more stars in Hollywood than in Heaven Hollywood Stage had them performing films as radio plays – on the sponsors dime of course.  Classic films now become audiobooks with many featuring the original stars from way back when. Here's Magnificent Obsession starring Robert Taylor & Irene Dunn.

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  The Horror of It All - One...

  Adam Rockoff

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  Horror films have simultaneously captivated and terrified audiences for generations, racking up billions of dollars at the box office and infusing our nightmares with unrelenting zombies, chain saw-wielding madmen, and myriad incarnations of ghosts, ghouls, and the devil himself. Despite evolving modes of storytelling and the fluctuating popularity of other genres, horror endures. The Horror of It All is a memoir from the front lines of the industry that dissects (and occasionally defends) the hugely popular phenomenon of scary movies.Author Adam Rockoff traces the highs and lows of the horror genre through the lens of his own obsessive fandom, born in the aisles of his local video store and nurtured with a steady diet of cable trash. From Siskel and Ebert's crusade against slasher films to horror's renaissance in the wake of Scream, Rockoff mines the rich history of the genre, braiding critical analysis with his own firsthand experiences. Be afraid. Be very afraid.

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