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1 Classic architecture
English-French architecture and construction dictionary > Classic architecture
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2 classic architecture
Строительство: классическая архитектура -
3 Classic architecture
English-Spanish architecture and construction dictionary > Classic architecture
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4 classic architecture
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5 neo-classic architecture
Строительство: неоклассическая архитектураУниверсальный англо-русский словарь > neo-classic architecture
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6 pseudo-classic architecture
Строительство: ложноклассическая архитектураУниверсальный англо-русский словарь > pseudo-classic architecture
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7 pseudo-classic architecture
Англо-русский строительный словарь > pseudo-classic architecture
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8 architecture
архитектура; строительное искусство, зодчество- ancient architecture - arcuated architecture - artistically full-valued architecture - Byzantine architecture - civil architecture - classic architecture - commemorative architecture - domestic architecture - domical architecture - Gothic architecture - Greek architecture - Hellenic architecture - industrial architecture - landscape architecture - medieval architecture - modern architecture - national architecture - neoclassic architecture - palatial architecture - pointed architecture - pseudo-classic architecture - Renaissance architecture - secular architecture - vertical accent architecture* * *архитектура- baroque architecture
- church architecture
- civil architecture
- commercial architecture
- functional architecture
- general architecture
- Greek architecture
- interior architecture
- Islamic architecture
- landscape architecture
- Medieval architecture
- military architecture
- modern architecture
- municipal architecture
- Near Eastern architecture
- organic architecture
- plug-in architecture
- religious architecture
- Renaissance architecture
- Romanesque architecture
- rural architecture
- school architecture
- town architecture
- transitional architecture
- vernacular architecture -
9 -classic o classical?-
Nota d'usoL'aggettivo classic significa “classico” nel senso di “esemplare, tipico”: a classic example of 1930s Art Deco, un classico esempio di Art Deco degli anni '30; the classic religious allegory «Pilgrim's Progress», la classica allegoria religiosa «Pilgrim's Progress». Il sostantivo classic viene usato con lo stesso senso, cioè si riferisce a un libro (o un film, ecc.) che è diventato punto di riferimento. Classics sono gli studi classici e le opere che ne compongono il patrimonio culturale.Invece, l'aggettivo classical si usa per cose che hanno forma o stile tradizionali, in contrapposizione a quelli moderni: classical architecture, architettura classica; classical music si riferisce alla musica colta dei secoli XVIII e XIX. Classical si riferisce anche allo studio delle lingue e letterature classiche: Classical Studies è sinonimo di Classics, studi classici. -
10 classic orders
архит. классические ордерыthe Doric, Ionic and Corinthian orders of Greek architecture — дорический, ионический и коринфский ордеры греческой архитектуры
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11 classicism
Clas·si·cism[ˈklæsɪsɪzəm]* * *['klsIsIzəm]nKlassik f; (= style of classic architecture) Klassizismus m* * *classicism [ˈklæsısızəm] s1. a) Klassik fb) Klassizismus m2. klassische Bildung3. klassische Redewendung oder Bezeichnung* * *n.Klassizismus m. -
12 classical
adjectivethe classical world — die Antike
classical education — humanistische [Schul]bildung
* * *['klæsikəl] 1. adjective1) ((especially of literature, art etc) of ancient Greece and Rome: classical studies.) klassisch2) ((of music) having the traditional, established harmony and/or form: He prefers classical music to popular music.) klassisch3) ((of literature) considered to be of the highest class.) erstklassig•- academic.ru/13261/classic">classic2. noun1) (an established work of literature of high quality: I have read all the classics.) der Klassiker2) ((in plural) the language and literature of Greece and Rome: He is studying classics.) klassisches Werk* * *clas·si·cal[ˈklæsɪkəl]1. (simple and stylish) klassisch, zeitlosin \classical Rome im alten Rom, im Rom der Antikethe \classical economics of Adam Smith die Klassische Schule von Adam Smith* * *['klsIkəl]adjklassisch; (= in the style of classical architecture) klassizistisch; education humanistisch; method, solution also altbewährt* * *classical [ˈklæsıkl] adj (adv classically)2. klassisch (dem antiken Stil entsprechend):a) klassischer oder antiker Baustil,b) klassizistischer Baustil3. klassisch:a) humanistisch gebildetc) altsprachlich:classical education klassische oder humanistische (Aus)Bildung;the classical languages die alten Sprachen;4. klassisch (Musik)* * *adjectiveclassical studies — Altphilologie, die
classical education — humanistische [Schul]bildung
* * *adj.altsprachlich adj.klassisch adj.klassischer adj. -
13 Mies van der Rohe, Ludwig
SUBJECT AREA: Architecture and building[br]b. 27 March 1886 Aachen, Germanyd. 17 August 1969 Chicago, USA[br]German architect, third of the great trio of long-lived, second-generation modernists who established the international style in the inter-war years and brought it to maturity (See Jeanneret (Le Corbusier) and Gropius).[br]Mies van der Rohe was the son of a stonemason and his early constructional training came from his father. As a young man he gained experience of the modern school from study of the architecture of the earlier leaders, notably Peter Behrens, Hendrik Berlage and Frank Lloyd Wright. He commenced architectural practice in 1913 and soon after the First World War was establishing his own version of modern architecture. His building materials were always of the highest quality, of marble, stone, glass and, especially, steel. He stripped his designs of all extraneous decoration: more than any of his contemporaries he followed the theme of elegance, functionalism and an ascetic concentration on essentials. He believed that architectural design should not look backwards but should reflect the contemporary achievement of advanced technology in both its construction and the materials used, and he began early in his career to act upon these beliefs. Typical was his early concrete and glass office building of 1922, after which, more importantly, came his designs for the German Pavilion at the Barcelona Exposition of 1929. These designs included his famous Barcelona chair, made from chrome steel and leather in a geometrical design, one which has survived as a classic and is still in production. Another milestone was his Tugendhat House in Brno (1930), a long, low, rectilinear structure in glass and steel that set a pattern for many later buildings of this type. In 1930 Mies followed his colleagues as third Director of the Bauhaus, but due to the rise of National Socialism in Germany it was closed in 1933. He finally left Germany for the USA in 1937, and the following year he took up his post as Director of Architecture in Chicago at what is now known as the Illinois Institute of Technology and where he remained for twenty years. In America Mies van der Rohe continued to develop his work upon his original thesis. His buildings are always recognizable for their elegance, fine proportions, high-quality materials and clean, geometrical forms; nearly all are of glass and steel in rectangular shapes. The structure and design evolved according to the individual needs of each commission, and there were three fundamental types of design. One type was the single or grouped high-rise tower, built for apartments for the wealthy, as in his Lake Shore Drive Apartments in Chicago (1948–51), or for city-centre offices, as in his Seagram Building in New York (1954–8, with Philip Johnson) or his Chicago Federal Centre (1964). Another form was the long, low rectangle based upon the earlier Tugendhat House and seen again in the New National Gallery in Berlin (1965–8). Third, there were the grouped schemes when the commission called for buildings of varied purpose on a single, large site. Here Mies van der Rohe achieved a variety and interest in the different shapes and heights of buildings set out in spatial harmony of landscape. Some examples of this type of scheme were housing estates (Lafayette Park Housing Development in Detroit, 1955–6), while others were for educational, commercial or shopping requirements, as at the Toronto Dominion Centre (1963–9).[br]Further ReadingL.Hilbersheimer, 1956, Ludwig Mies van der Rohe, Chicago: P.Theobald.Peter Blake, 1960, Mies van der Rohe, Architecture and Structure, Penguin, Pelican. Arthur Drexler, 1960, Ludwig Mies van der Rohe, London: Mayflower.Philip Johnson, 1978, Mies van der Rohe, Seeker and Warburg.DYBiographical history of technology > Mies van der Rohe, Ludwig
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14 example
example [ɪg'zɑ:mpəl]1 noun(a) (illustration) exemple m;∎ can you give me an example? pouvez-vous me donner un exemple?;∎ to give just one example,… pour ne donner ou citer qu'un exemple,…;∎ this is an excellent example of what I meant ceci illustre parfaitement ce que je voulais dire;∎ it's a classic example of 1960s architecture c'est un exemple classique de l'architecture des années 60(b) (person or action to be imitated) exemple m, modèle m;∎ you're an example to us all vous êtes un modèle pour nous tous;∎ to follow sb's example suivre l'exemple de qn;∎ I followed your example and complained about the poor service j'ai fait comme vous et me suis plaint de la médiocrité du service;∎ following France's example, Britain has introduced sanctions à l'exemple ou à l'instar de la France, la Grande-Bretagne a pris des sanctions;∎ to set an example montrer l'exemple;∎ she sets us all an example elle nous montre l'exemple à tous;∎ to set a good/bad example montrer le bon/mauvais exemple;∎ you're setting your little brother a bad example tu montres le mauvais exemple à ton petit frère;∎ to hold sb up as an example citer qn en exemple∎ let this be an example to you que ça te serve d'exemple;∎ to make an example of sb punir qn pour l'exemplepar exemple;∎ large cities, (as) for example London les grandes villes, telles que Londres (par exemple) -
15 Purvis, Frank Prior
SUBJECT AREA: Ports and shipping[br]b. 18 April 1850 London, Englandd. 20 February 1940 Seaford Downs, England[br]English naval architect.[br]Despite being one of the youngest entrants to the South Kensington School of Naval Architecture, Purvis obtained both a Whitworth Exhibition and a Scholarship. Upon graduating he commenced a career in shipbuilding that involved him in military, civil and research work in Scotland, England and Japan. Initially he worked in Robert Napier's shipyard on the River Clyde, and then in the London drawing offices of Sir Edward Reed, before joining the staff of the Admiralty, where he assisted William Froude in his classic ship experiments at Torquay. After a short spell with Sir William Pearce at Govan, Purvis joined William Denny and Bros and with his recently gained knowledge of hydrodynamics helped set up the world's first commercial ship model tank at Dumbarton. His penultimate appointment was that of Shipbuilding Partner in the Scottish shipyard of Blackwood and Gordon.In 1901 he became Professor of Naval Architecture at the Imperial University of Tokyo (succeeding Percy Hillhouse, who had become Naval Architect of Fairfield and later became Professor at Glasgow University) and it was in this role that Purvis was to achieve distinction through developing a teaching course of the highest order. It is accepted that his influence on the Japanese shipbuilding industry was profound. After nineteen years of service he retired to the United Kingdom.[br]BibliographyPurvis presented several papers to the Institution of Naval Architects and to the Institution of Engineers and Shipbuilders in Scotland, and in 1900 he assisted in the preparation of the Ships and Shipbuilding supplement to Encyclopaedia Britannica.FMW -
16 style
[staɪl] 1. сущ.1)а) стиль, слог, манераto develop style — развивать, улучшать стиль
to polish / refine one's style — шлифовать стиль
classic / classical style — классический стиль, классическая манера
vigorous style — решительная, энергичная манера поведения
He writes with more attention to style than to content. — Он пишет, уделяя больше внимания стилю (форме), чем содержанию.
- ornate stylethe flowery style of 18th century prose — цветистый, помпезный стиль прозы 18 века
б) манера, линия поведения; стиль, образ жизниin high style — с блеском, с шиком
в) иск. стиль, направление, школаг) техника, стиль; процедура, методика (в каком-л. виде спорта, при осуществлении каких-л. технических операций)2) род, сорт, тип3)а) изящество, вкус; блеск, шикб) мода, фасон; покрой4) стиль ( способ летосчисления)5)а) ист. стило, стиль (палочка с острым концом, орудие письма)б) информ. стилог) игла звукоснимателя или аппарата для нарезания грампластинок•Syn:6) мед. иглаSyn:8)а) обозначение, название, имяб) титул•Syn:designation, title 1.2. гл.1) книжн. именовать, называть; титуловать, величатьSyn:2)б) укладывать, причёсывать, подстригать волосы определённым образом, делать причёскуto have one's hair styled — постричься; сделать укладку
3) мед. щупать зондом, зондировать -
17 pattern
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18 Azulejo
Portuguese glazed tile(s) used to decorate gardens, walls, fountains, tables, chairs, and other household furniture. The word comes from the Arabic word azuleif ("slippery" or "ornamental tile"). These tiles have a variety of glazed and painted decorations from geometric to anthropomorphic and are rectangular or square in shape. Influenced both by Arabic tiles and Dutch tiles (after 1600), the Portuguese azulejo changed its decorative motif over the centuries. While early tiles featured only geometric decoration patterns, in the 17th and 18th centuries the classic blue and white decorations that portray individuals, animals, or hunting scenes became typical. Since before the 16th century, azulejos have decorated the interior and exterior walls and furniture of Portuguese houses, palaces, villas, castles, chapels, and churches, as well as many public buildings. Next to mosaic sidewalks in towns and cities and gilt wood altars in churches, the azulejo art is the most typical Portuguese decor in all sections of the country. -
19 Santana, Vasco
(1898-1958)Comic stage, film, and radio actor of the golden age of Lisbon musical review theater. Although he studied architecture in Lisbon, Santana quickly became a celebrated, popular actor in light theater, especially in Lisbon reviews, comedies, and operettas. In radio, he became known for his zany depiction of a 1940s cartoon character. For decades, Santana was the most popular comic figure in the Theater of Review in Lisbon. With his signature squat corpulence, his quick comic moves, and rough voice, charismatic Santana was the most beloved of comic actors of his day. Besides his many contributions to stage and radio, he had an important career as a comic actor in film. Most of his more famous roles were in classic 1930s and 1940s films, including one of the earliest talkies in Portugal, A Canção de Lisboa (Song of Lisbon, 1933).Long revered by his public but also by colleagues, Santana's fame underwent a revival after 1974. One sign of this revival was the unexpected popularity of a colleague's memoirs, a best-selling book by the actress, Beatriz Costa, known for her Clara Bow look, in the late 1970s. The clever title was both sentimental and biting: When the Vascos Were Santanas and More ( Quando Os Vascos Eram San-tanas E Não Só). The "Vasco" of recent, revolutionary politics was the soldier-politician, Vasco Gonçalves, in contrast to the beloved "Vasco Santana" of an earlier golden age of comedy. New generations of performers continue to be inspired by the late actor's distinctive legacy of light-hearted mirth. -
20 Albert, Prince Consort
[br]b. 26 August 1819 The Rosenau, near Coburg, Germanyd. 14 December 1861 Windsor Castle, England[br]German/British polymath and Prince Consort to Queen Victoria.[br]Albert received a sound education in the arts and sciences, carefully designed to fit him for a role as consort to the future Queen Victoria. After their marriage in 1840, Albert threw himself into the task of establishing his position as, eventually, Prince Consort and uncrowned king of England. By his undoubted intellectual gifts, unrelenting hard work and moral rectitude, Albert moulded the British constitutional monarchy into the form it retains to this day. The purchase in 1845 of the Osborne estate in the Isle of Wight provided not only the growing royal family with a comfortable retreat from London and public life, but Albert with full scope for his abilities as architect and planner. With Thomas Cubitt, the eminent engineer and contractor, Albert erected at Osborne one of the most remarkable buildings of the nineteenth century. He went on to design the house and estate at Balmoral in Scotland, another notable creation.Albert applied his abilities as architect and planner in the promotion of such public works as the London sewer system and, in practical form, the design of cottages for workers, such as those in south London, as well as those on the royal estates. Albert's other main contribution to technology was as educationist in a broad sense. In 1847, he was elected Chancellor of Cambridge University. He was appalled at the low standards and narrow curriculum prevailing there and at Oxford. He was no mere figurehead, but took a close and active interest in the University's affairs. With his powerful influence behind them, the reforming fellows were able to force measures to raise standards and widen the curriculum to take account, in particular, of the rapid progress in the natural sciences. Albert was instrumental in ending the lethargy of centuries and laying the foundations of the modern British university system.In 1847 the Prince became Secretary of the Royal Society of Arts. With Henry Cole, the noted administrator who shared Albert's concern for the arts, he promoted a series of exhibitions under the auspices of the Society. From these grew the idea of a great exhibition of the products of the decorative and industrial arts. It was Albert who decided that its scope should be international. As Chairman of the organizing committee, by sheer hard work he drove the project through to a triumphant conclusion. The success of the Exhibition earned it a handsome profit for which Albert had found a use even before it closed. The proceeds went towards the purchase of a site in South Kensington, for which he drew up a grand scheme for a complex of museums and colleges for the education of the people in the sciences and the arts. This largely came to fruition and South Kensington today is a fitting memorial to the Prince Consort's wisdom and concern for the public good.[br]Further ReadingSir Theodore Martin, 1875–80, The Life of His Royal Highness, the Prince Consort, 5 vols, London; German edn 1876; French edn 1883 (the classic life of the Prince).R.R.James, 1983, Albert, Prince Consort: A Biography, London: Hamish Hamilton (the standard modern biography).L.R.Day, 1989, "Resources for the study of the history of technology in the Science Museum Library", IATUL Quarterly 3:122–39 (provides a short account of the rise of South Kensington and its institutions).LRD
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