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What happens when religion is shaped by war, politics and propaganda? A cautionary account for our times that began 50,000 years ago. From the author of Green Witchcraft Volumes I, II, III, Dancing Shadows and Origins of Modern Witchcraft. Widely recognized as the leading authority on the history of Paganism, Ann Moura tells the story of the birth and evolution of Western religion with focus on NeoPaganism, Wicca and Witchcraft. The history complete with influences, pivotal junctures, intersections, parallels, overlaps and adaptations. A must read for every Witch and every student of religious studies/history

Color/finish: Black Design details: This blackened bronze table lamp combines the natural elements of a seeded glass shade for a clean but organic aesthetic. Measures 10in x 10in x 72in Plug-in UL approved Imported

This blackened bronze table lamp combines the natural elements of a seeded glass shade in a delicate inverted cone shape for a clean but organic aesthetic. The blackened bronze finish blends seamlessly with any color scheme. The torchiere shape adds refinement to any space.

“I look beyond solution; I look for an expression.”—Eduardo Souto de Moura The architect Eduardo Souto de Moura (b. 1952) has won many accolades, including the 2011 Pritzker Architecture Prize. Based in Porto, Souto de Moura studied under Fernando Távora and worked under fellow Portuguese architect Álvaro Siza, with whom he continues to collaborate. Souto de Moura established his own practice in 1980, and his wide-ranging influences, including Mies van der Rohe and Donald Judd, can be seen in the stunning variety of his work, from his acclaimed private houses, to the striking Paula Rego Museum in Cascais and the Braga Municipal Stadium, to his work in historical contexts such as the Convento das Bernardas in Tavira.   This beautifully illustrated retrospective provides the most comprehensive account of Souto de Moura’s career to date. Drawings, notes and sketches from his archive, and newly commissioned photographs complement essays by scholars and prominent architects that trace Souto de Moura’s career, contextualize his work within the larger trends of contemporary international architectural culture, and highlight the originality of his design strategy.

Eduardo Souto Moura editado por T6

“I look beyond solution; I look for an expression.”—Eduardo Souto de Moura The architect Eduardo Souto de Moura (b. 1952) has won many accolades, including the 2011 Pritzker Architecture Prize. Based in Porto, Souto de Moura studied under Fernando Távora and worked under fellow Portuguese architect Álvaro Siza, with whom he continues to collaborate. Souto de Moura established his own practice in 1980, and his wide-ranging influences, including Mies van der Rohe and Donald Judd, can be seen in the stunning variety of his work, from his acclaimed private houses, to the striking Paula Rego Museum in Cascais and the Braga Municipal Stadium, to his work in historical contexts such as the Convento das Bernardas in Tavira.   This beautifully illustrated retrospective provides the most comprehensive account of Souto de Moura’s career to date. Drawings, notes and sketches from his archive, and newly commissioned photographs complement essays by scholars and prominent architects that trace Souto de Moura’s career, contextualize his work within the larger trends of contemporary international architectural culture, and highlight the originality of his design strategy.

(Publication Date: 2006) Em 2002, a consagrada autora Ana Maria Machado lançou o primeiro volume de uma série de histórias que pretendia reunir em livro. O projeto nasceu do desejo da autora de contar, com suas palavras, as histórias que havia escutado de seus pais e da avó. Neste livro, a escritora recorta dez dessas histórias brasileiras: "A moura torta", "O macaco e a viola", "João bobo", "O veado e a onca", "Festa no ceu", "Dona Baratinha", "Maria Sapeba", "A galinha que criava um ratinho", "O bicho folhagem" e "Pimenta no cocoruto". Ilustrações de Odilon Moraes.

The Portuguese architect Eduardo Souto de Moura was born in 1952 in Porto. During his architectural studies he had the good fortune to work for Alvaro Siza, and in 1980 he opened his own office in Porto. Today Souto de Moura, with his purist yet atmospheric structures is one of the most well-known architects on the Iberian peninsula. "I began practically at the very beginning and concentrated on the essence of architecture. The most fundamental element is naturally the wall." Souto de Moura succeeded in combining Portugal's strong tradition of stone masonry with abstract modern forms, creating an architecture of compelling beauty. Werner Blaser conveys through wonderfully expressive photography the elemental and timeless nature of Souto de Moura's buildings focussing in particular on his use of stone as a building material.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

Architect Eduardo Souto celebrated for works in his native Portugal, his buildings display classic and early modernism with landscapes that have an intimate connection to nature.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

EL CROQUIS 218 presenta el trabajo del arquitecto portugués EDUARDO SOUTO DE MOURA (2015-2023). Además de mostrar los proyectos y obras más relevantes realizados por este arquitecto desde 2015, la monografía incluye una entrevista con Eduardo Souto de Moura llevada a cabo por Inmaculada Maluenda y Enrique Encabo.

Eduardo Souto de Moura (b 1952) has long been one of Portugal's leading architects but gained wider international recognition when he won the Pritzker Architecture Prize in 2011. Born in Porto, he collaborated with the much-respected Alvaro Siza from 1974 to 1979 before establishing his own architectural studio in 1980. Since then, he has completed more than 100 projects ranging from private houses such as his Casa do Cinema for film director Manoel de Oliveira in Porto (2002) to larger projects such as the stadium in Braga (2004), the venue for the 2004 European Championships. All are illustrated in this comprehensive book, which also features essays by Souto de Moura and a discussion between Souto de Moura, Siza and fellow Portuguese architect Fernando Tavora. Souto de Moura's work, often compared to that of Mies van der Rohe, was praised by the Pritzker Prize jury for its 'unique ability to convey seemingly conflicting characteristics - power and modesty, bravado and subtlety, bold public authority and a sense of intimacy - at the same time.' His work often reflects his aesthetic interest in architectural ruins and interstitial spaces, and a desire to create a rapport between nature and architecture. This is demonstrated at Braga, where the substantial stadium is carefully inserted into the side of a granite quarry. His most high-profile recent projects show a powerful use of form - at the Paula Rego Museum near Lisbon (2008), for example, two pyramid-shaped towers of red-coloured concrete loom memorably over the entrance. This monograph is a detailed record of Souto de Moura's architecture over 35 years with 600 illustrations that do full justice to this impressive body of work.

Eduardo Souto de Moura (b 1952) has long been one of Portugal's leading architects but gained wider international recognition when he won the Pritzker Architecture Prize in 2011. Born in Porto, he collaborated with the much-respected Alvaro Siza from 1974 to 1979 before establishing his own architectural studio in 1980. Since then, he has completed more than 100 projects ranging from private houses such as his Casa do Cinema for film director Manoel de Oliveira in Porto (2002) to larger projects such as the stadium in Braga (2004), the venue for the 2004 European Championships. All are illustrated in this comprehensive book, which also features essays by Souto de Moura and a discussion between Souto de Moura, Siza and fellow Portuguese architect Fernando Tavora. Souto de Moura's work, often compared to that of Mies van der Rohe, was praised by the Pritzker Prize jury for its 'unique ability to convey seemingly conflicting characteristics - power and modesty, bravado and subtlety, bold public authority and a sense of intimacy - at the same time.' His work often reflects his aesthetic interest in architectural ruins and interstitial spaces, and a desire to create a rapport between nature and architecture. This is demonstrated at Braga, where the substantial stadium is carefully inserted into the side of a granite quarry. His most high-profile recent projects show a powerful use of form - at the Paula Rego Museum near Lisbon (2008), for example, two pyramid-shaped towers of red-coloured concrete loom memorably over the entrance. This monograph is a detailed record of Souto de Moura's architecture over 35 years with 600 illustrations that do full justice to this impressive body of work.

The Portuguese architect Eduardo Souto de Moura was born in 1952 in Porto. During his architectural studies he had the good fortune to work for Alvaro Siza, and in 1980 he opened his own office in Porto. Today Souto de Moura, with his purist yet atmospheric structures is one of the most well-known architects on the Iberian peninsula. "I began practically at the very beginning and concentrated on the essence of architecture. The most fundamental element is naturally the wall." Souto de Moura succeeded in combining Portugal's strong tradition of stone masonry with abstract modern forms, creating an architecture of compelling beauty. Werner Blaser conveys through wonderfully expressive photography the elemental and timeless nature of Souto de Moura's buildings focussing in particular on his use of stone as a building material.

Among contemporary Portuguese architects there is a large group whose members, while trained or influenced by Alvaro Siza, have embarked on an independent line of common research; one of these is Eduardo Souto de Moura (b. 1952). This monograph presents the designer who has combined great attention to the "principle of settlement" with a respect for local architecture, expressed through the use of natural materials. Souta de Moura transforms the figurative elements of classical architecture using a modern sensibility. A minimalist approach and the discreet use of local materials are the essential components of his activity. Among his best-known projects: the Municipal Market in Braga (1980-84), the cultural center for the S.E.C. at Oporto (1981-91), houses at Miramar (1987-91) and Alcanena (1987-92), the patio houses at Matosinhos (1993-99) and the Portuguese pavilion at the Hannover Expo 2000 with Siza (1999). Essays by the authors, along with an interview with Siza, Francisco Tavora and Souto de Moura himself, introduce the architect's work.

This work presents an analysis of the discursive figure of the author in twelve novels representing Vietnamese fictional production in French from 1913 to 1986.

2 ejemplares. Traducción de Beatriz de Moura. MUY BUENOS ejemplares. S/N

The 1984 debut that started the trailblazing Argentinean rock trio of Gustavo Cerati, Charly Alberti and Zeta Bosio on their way to international stardom. The eponymously titled album sessions were produced by Frederico Moura, who also held a day job as the singer of the band Virus.