(produced with originality)

1) schöpferisch [Person, Kraft, Geist, Begabung]; fantasievoll [Künstler, Kind]

2) (produced with originality) originell; einfallsreich

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adjective (good at inventing: an inventive mind.) erfinderisch

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adj ( approv) novel, design erfinderisch, einfallsreich; powers, skills schöpferisch

\inventive design originelles Design

\inventive illustration fantasievolle Illustration

\inventive mind erfinderischer [o schöpferischer] Geist, findiger Kopf fam

\inventive person einfallsreicher Mensch

\inventive radio play geistreiches Hörspiel

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inventive [ınˈventıv] adj (adv inventively)

1. erfinderisch:

inventive merit (Patentrecht) erfinderische Leistung, Erfindungshöhe f

2. originell, einfallsreich

3. Erfindungs…:

inventive faculty ( oder powers pl) → academic.ru/39114/invention">invention 2

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1) schöpferisch [Person, Kraft, Geist, Begabung]; fantasievoll [Künstler, Kind]

2) (produced with originality) originell; einfallsreich

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einfallsreich adj.

erfinderisch adj.

schöpferisch adj.

SUBJECT AREA: Architecture and building

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The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.

Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.

One of Le Corbusier's late works, the Convent is a tour de force.

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SUBJECT AREA: Agricultural and food technology

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Cyrus McCormick's father, a farmer, began to experiment unsuccessfully with a harvesting machine between 1809 and 1816. His son took up the challenge and gave his first public demonstration of his machine in 1831. It cut a 4 ft swathe, but, wanting to perfect the machine, he waited until 1834 before patenting it, by which time he felt that his invention was threatened by others of similar design. In the same year he entered an article in the Mechanics Magazine, warning competitors off his design. His main rival was Obed Hussey who contested McCormick's claim to the originality of the idea, having patented his own machine six months before McCormick.

A competition between the two machines was held in 1843, the judges favouring McCormick's, even after additional trials were conducted after objections of unfairness from Hussey. The rivalry continued over a number of years, being avidly reported in the agricultural press. The publicity did no harm to reaper sales, and McCormick sold twenty-nine machines in 1843 and fifty the following year.

As the westward settlement movement progressed, so the demand for McCormick's machine grew. In order to be more central to his markets, McCormick established himself in Chicago. In partnership with C.M.Gray he established a factory to produce 500 harvesters for the 1848 season. By means of advertising and offers of credit terms, as well as production-line assembly, McCormick was able to establish himself as sole owner and also control all production, under the one roof. By the end of the decade he dominated reaper production but other developments were to threaten this position; however, foreign markets were appearing at the same time, not least the opportunities of European sales stimulated by the Great Exhibition in 1851. In the trials arranged by the Royal Agricultural Society of England the McCormick machine significantly outperformed that of Hussey's, and as a result McCormick arranged for 500 to be made under licence in England.

In 1874 McCormick bought a half interest in the patent for a wire binder from Charles Withington, a watchmaker from Janesville, Wisconsin, and by 1885 a total of 50,000 wire binders had been built in Chicago. By 1881 McCormick was producing twine binders using Appleby's twine knotter under a licence agreement, and by 1885 the company was producing only twine binders. The McCormick Company was one of the co-founders of the International Harvester Company in 1901.

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