SKU: 11121209440

Karibu Saunahaus Mainburg 1 Set A terragrau-9kW Ofen ext. Strg

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Karibu Saunahaus Mainburg 1 Set A terragrau-9kW Ofen ext. StrgProdukteigenschaften Karibu Saunahaus Mainburg 1 Set A terragrau Das Saunahaus Mainburg ist in fnf verschiedenen Gren, zwei verschiedenen Farbausfhrungen und zwei Sauna Sets erhltlich. Diese bieten Ihnen die Wahl zwischen 2 oder 3 Liegen. Stabiles Haus durch 38 mm Steck Schraubsystem. Schicke Optik durch Vollglas Doppelflgeltr. Sauna mit 2 komfortablen Liegen Auenwnde des Karibu Saunahaus Mainburg: 38 mm Bohlenstrke sind die Basis fr eine stabile und

Produkteigenschaften Karibu Saunahaus Mainburg 1 Set A terragrau

Das Saunahaus Mainburg ist in fünf verschiedenen Größen, zwei verschiedenen Farbausführungen und zwei Sauna Sets erhältlich. Diese bieten Ihnen die Wahl zwischen 2 oder 3 Liegen.
•Stabiles Haus durch 38 mm Steck-/ Schraubsystem.
•Schicke Optik durch Vollglas Doppelflügeltür.
•Sauna mit 2 komfortablen Liegen

Außenwände des Karibu Saunahaus Mainburg:
38 mm Bohlenstärke sind die Basis für eine stabile und langlebige Konstruktion. Daraus werden stabile Wände gebildet. Das Steck-/Schraubsystem eignet sich ideal zur Selbstmontage und spart dadurch Geld. Profilhölzer werden durch Stecken und Schrauben an ein Basisgerüst montiert. Die Montage ist einfach und schnell zu bewerkstelligen. Die Ecken des Hauses werden durch durch die hochwertige Chrome Line Eckverbindung vor Witterung geschützt.
Dieses Karibu Saunahaus Mainburg wird Ihnen in der Farbe terragrau geliefert.
Das Karibu Farbsystem wurde entwickelt, um den langfristigen und effektiven Holzschutz Ihres Hauses zu gewährleisten. Durch die farbige Versiegelung und die UV-Trocknung wird für eine nachhaltige Feuchtigkeitsabweisung gegen Witterungseinflüsse, einen Schutz gegen Schädlinge, sowie gegen mechanische Beschädigungen gesorgt. Zudem wird durch den Farbauftrag eine besonders gleichmäßige Oberfläche erzielt. Alle Karibu-Farben sind lösemittelfrei, geruchslos und frei von allen bekannten problembehafteten Substanzen, somit sind die Karibu-Farben besonders umweltfreundlich.

Dach des Karibu Saunahaus Mainburg:
Das Pultdach besteht aus Massivholzplatten und ist dadurch sehr einfach und schnell montierbar. Regenwasser kann an der Hinterseite durch eine leichte Neigung abfließen. Die Dacheindeckung erfolgt am Besten mit selbstklebender Dachbahn, so ist Ihr Pultdach vor der Witterung geschützt. Um das Regenwasser zu nutzen, empfehlen wir das Anbringen einer Dachrinne.

Ofen des Karibu Saunahaus Mainburg:
Der 9-kW-Ofen von Karibu verfügt über ein externes Steuergerät mit einer stufenlosen Temperaturwahl zwischen 10 und 100 °C. Das Steuergerät hat eine Heizzeitbegrenzung von 4 Stunden und eine Sicherheitstemperaturbegrenzung bei 140°C. Ferner können Sie Ihre Kabinenbeleuchtung anschließen und schalten. Natürlich ist die Steuerung spritzwassergeschützt nach DIN EN 60529. Der Ofen verfügt über einen Außenmantel aus einbrennlackiertem Stahl in grau. Der Innenmantel ist für eine Reduzierung der Knackgeräusche feueraluminisiert. Die Rückwand besteht, ebenso wie der Elektro-Anschlusskasten aus feueraluminisiertem Stahl. Die Leistung beträgt maximal 9 kW (3 Heizstäbe à 3 kW). Es sollte bei der Montage ein Abstand von mindestens 19 cm zum Kabinenboden eingehalten werden. Der Ofen wird inkl. 18 kg Saunasteine geliefert und hat Abmessungen von 41 x 50 x 37,0 cm (B x H x T). Zum Anschluss genügen zwei fünfadrige Silikonkabel, welche einen Querschnitt von 1,5 mm² sowie 2,5 mm² pro Leitung (5 x 1,5 mm² / 5 x 2,5 mm²) aufweisen sollten.
Das 5 x 2,5 mm² Kabel verbindet Ihren bauseitig vorzubereitenden Starkstromanschluss (400 V, 3 x 16A) mit dem Steuergerät. Das kleinere Kabel 5 x 1,5 mm² verbindet dann die Steuerung mit dem Ofen, anzuschließen am Anschlusskasten des Ofens.

Außentür des Karibu Saunahaus Mainburg:
Die Doppeltür Modern überzeugt durch Stabilität und edle Optik. Der Massivholzrahmen sorgt für einen stabilen Halt und die Glasausschnitte verleihen der Tür den optischen Feinschliff und sorgen für einen hellen Innenraum. Selbst die Justierung geht mittels der Einbohrbänder leicht von der Hand. Das Zylinderschloss ermöglicht es Ihnen, Ihr Gartenhaus mittels der drei mitgelieferten Schlüssel zu verschließen.

Wände der Sauna:
- 38 mm Wandstärke / Systemsauna
- Doppelte Nut und Feder-Verbindung
- Niedrige Deckenhöhe

Dach der Sauna:
- 57 mm Elementstärke

Liegen der Sauna:
- 2 Liegen
- Fichtenholz
- bis 250 kg belastbar
- geringe Wärmeleitfähigkeit

Tür der Sauna:
- Extra breite, bronzierte Ganzglastür

Ein Saunagang mit dieser Sauna kostet Sie ca. 3,78€*
*Mit einer 60 minütigen Nutztungsdauer und mit einem Strompreis von 42 Cent pro Kilowattstunde gerechnet, ohne Berücksichtigung
der Raumgröße. Alle Angaben sind ohne Gewähr.
Artikelnummer: 35867

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SKU: 11121209440

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4.8 ★★★★★
Based on 18 reviews
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AMD
Port Orchard, US
★★★★★ 3
Won’t be buying book two.
Format: Paperback
Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Reviewed in the United States on July 8, 2025
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Dr.C.J.Singh.Wallia
Charlottesville, US
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY By Lisa Cron Reviewed by C J Singh (Berkeley, California) Excellent Primer on Novel-Writing In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/ Here's my review of Lisa Cron's "Wired For Story" "WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft. Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow. "Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information. Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23). . "Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own. Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65) . "Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious. "Story Secret: There's no writing; there's only rewriting" (p 219). Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow. "Myth: Write What You Know. "Reality: Write What You Know EMOTIONALLY" (p 62). . "Myth: Sensory Details Bring a Story to Life." "Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118). . "Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying. "Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152). Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene. At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti." An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 ) WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020
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Matt M
Bozeman, US
★★★★★ 5
Will reading Wired for Story really make you smarter?
Format: Paperback
In my 36th year as a would-be and penniless writer, I found myself exiled to a dark rough and tumble city in the Far West, guns blazing as a steely-eyed wordslinger for hire. But then one day I stumbled upon Lisa Cron's book Wired for Story. The book's title had my curiosity. A few sample pages later grabbed my attention and has held it ever since. But the price wasn't right for a poor, humble English teacher living in China upon a Chinese salary. I had bills to pay, a mistress to please, and habits to feed. It seemed to me that Amazon.com was colluding with other dark powers to suck humanity dry; why else would they charge more for a digital book than its paper copy? But then I heard ghostly voices, the cinematic intonations of Morpheus telling me to choose between the red and blue pill; Obiwan Kenobi, "Use the Force"; Nike commercials, "Just Do It!"; and other such shadows flickering upon the wall of my TV room. Even this very particular retail website seemed to whisper across all the vastness of cyberspace, reminding me of my destiny via a personalized showcase of products, that I was not just born to buy... So I added it to my cart. About a download and two chapters later I found that I was still happy after the post-purchase buzz ran its course. This book should be required reading for all writers - and anybody else seeking an inoculation against the raging pandemic of competing narratives spewed out from marketers, pundits, prophets, and others posing as guardians of the truth - most of whom seem to be more enraptured than enlightened. For writers though, Wired for Story is quite different from other "how to" books, as Lisa Cron approaches the craft of storytelling from a neuroscientific point of view. She makes the case that writers aren't just entertainers: they are some of most powerful shakers and shapers of human perception. So if storytellers are like snake oil salesmen, then what is the difference? Both seem to be highly skilled in crafting story, using imagery, and evoking emotions, memories, desires. The difference is all about marketing. Salesmen claim to have knowledge, skills, and expertise, that they, and they alone have whatever it takes to get the facts right and fix things. They market their brands cloaked in story, as if they have a monopoly on truth, or at least the can-do spirit and problem-solving experience needed to improve the economy, save the world, whatever. It doesn't matter that time and time again reality proves them wrong; they will always have another story to spin. The difference between those who would use the power of story to express themselves versus those who would use it for personal gain is, perhaps, a fine red line marking the shadowy borders of between ethics and morality. Storytellers differ because they use words to hook audiences and manipulate a willing reader's central nervous system. They make no claims to knowledge or expertise. Indeed, fiction writers will be first to emphasize their work is fictional, and not based on any real life events or people. Their best writing leaves readers thinking, questioning, minds opening, empathizing, expanding their worldviews, the list goes on almost ad infinitum. Storytellers speak for themselves and let audiences think for themselves; pundits speak for others and tell audiences what to think. What's more, the art and craft of story, as well as the talent and hard time in solitary confinement required for their honing, is estimated to take an average storyteller at least 1,000,000 words or 10,000 hours - not including all the reading, language arts development, and life experience necessary to get to a point one needs to seriously embark on such a ludicrous and un-economical vocation. This means that fiction writers who risk everything for dubious prospects of financial reward must have something else driving them - and a good day job. A presidential candidate though, who has genuinely done the time, and crafts speeches with the skill of a poet or bard, should hypothetically have the critical thinking background, moral authority, and empathy to be a great leader. But in the final analysis, actions contradict words; their ability to spin tales proves the old universal theme that the pen is mightier than the sword. Now when I finish Wired for Story sometime this week, I will be one step further on this endless quest to actually sell stories for a living (i.e. stories fit for the fiction aisle of an actual bookstore, not a review for an online retailer). Until then, I'm probably just a hypocrite acting as if a single book alone makes a smarter man, when in fact I know little of anything (which is why I became a writer in the first place) -- or maintaining such a humble pretense. But I don't know myself well enough to be certain. That kind of exploration would be a whole other story - but it would be unsafe to say that I lived happily ever after reading this book. The End
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Reviewed in the United States on October 11, 2012
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arch_reviews
Whiting, US
★★★★★ 4
A Cheeky Novel about writing cheeky novels
Format: Paperback
Wired for Story is a book full of solid, albeit basic, advice for story tellers, and in particular writers trying to develop their craft. It succeeds in some areas while falls down in others, however I found it solid and well written overall. Where it succeeds is in its brevity and clarity. The author gets right to the point and even provides short lists at times of what to do and how to do it. Her writing is also peppered with cheeky humor which is humorous in a thats-almost-funny kind of way that is refreshing compared to the textbook style adopted by many how-to-write books. Where the book fell down, for me, was in its limited examples and scope. It really felt like the author was addressing romance writers, for the most part. I could think of a few counter examples to some of her rules, although one would have to leave the romance genre for those to work. But for a 230 page book, that is minor discrepancy. The second thing I noticed, which has already been pointed out by others, is that the brain science was limited. In fact, it was mostly only refereed to in footnote. Personally, that was fine with me, but I could see why it made others feel misled (it is in the title, after all).
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Reviewed in the United States on December 5, 2014
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Martijn13Maart1970
Houston, US
★★★★★ 5
Unfortunately yet another one to add on the pile of writing books!
Format: Paperback
I say 'unfortunately another good book on writing' since I have been reading many books on the topic and each time I think I have read it all by now, pfff, but then another one like this comes along. But hey, it is fun to read about writing and especially if you get something useful and new out of it. Always worth the money. Why the accolades for this book? All the information on characters, plot, details etc, how they work and why they are important, is not new. You find them in many reading books, especially from Reader's and Writer's Digest series. I would especially recommend the books on plot and structure by James Scott Bell. Yet this book Wired For Story is not redundant, since it is unique in both the focus on the familiar subjects like what story is, the importance of details, details versus generics, how events affect a character etc. The approach of using brain science shows in a compelling way why all the stuff in the book (and for that matter, the classic theory on writing) is there for a reason, since it has evolved out of how we humans seem to perceive a story. Interesting though, a lot of rules like 'write about what you know' are shown to be myths. Of course, in the end it is you as a reader that has to decide what works for you, but you will find new things here and that is always good. If you are thinking about writing a story, this book can give you a very sharp focus on what to think about before you start. Or, like me, when you have a draft, and you want to get to the 'real story' behind it to come forward, this work gives you a very transparent way to get better clues as to what stays and what has to go. It is also entertaining and easy to read, so, all I can say is, yet again a book on writing you cannot afford to miss! I just added some extra information: I loved the humor and wisdom of the writer. She has worked for years reading manuscripts and she does know her stuff, and I liked her tone, which was both realistic but also fun! How many times have you read a reference work and actually had to laugh? But this book was also profound on many story issues. Many common writing rules are, as I said before, shown to be myths and more importantly, why this is so. I have read for instance so often that you should have some sensory info on every page, but, as I thought myself and I am not the only one: although this makes things more lively, it should only be there if the story would dictate it! The book has many more things like these. I have compiled a collection of notes I took from all the many many books on writing so I measure new books on writing in how much text I copied and pasted to look at again and this book has given me lots, so 5 stars and I hope we will see more of this author again! I also recommend the book by James Scott Bell on plot and structure which you can find here
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Reviewed in the United States on October 28, 2012

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