light pattern construction

- overhead way machine

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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1) пластинка

SUBJECT AREA: Architecture and building

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Brunelleschi was a true "Renaissance Man" in that he excelled in several disciplines, as did most artists of the Italian Renaissance of the fifteenth and sixteenth centuries. He was a goldsmith and sculptor; fifteenth-century writers acknowledge him as the first to study and demonstrate the principles of perspective, and he clearly possessed a deep mathematical understanding of the principles of architectural structure.

Brunelleschi's Foundling Hospital in Florence, begun in 1419, is accepted as the first Renaissance building, one whose architectural style is based upon a blend of the classical principles and decoration of Ancient Rome and those of the Tuscan Romanesque. Brunelleschi went on to design a number of important Renaissance structures in Florence, such as the basilicas of San Lorenzo and Santo Spirito, the Pazzi Chapel at Santa Croce, and the unfinished church of Santa Maria degli Angeli.

However, the artistic and technical feat for which Brunelleschi is most famed is the completion of Florence Cathedral by constructing a dome above the octagonal drum which had been completed in 1412. The building of this dome presented what appeared to be at the time insuperable problems, which had caused previous cathedral architects to shy away from tackling it. The drum was nearly 140 ft (43 m) in diameter and its base was 180 ft (55 m) above floor level: no wooden centering was possible because no trees long enough to span the gap could be found, and even if they had been available, the weight of such a massive framework would have broken centering beneath. In addition, the drum had no external abutment, so the weight of the dome must exert excessive lateral thrust. Aesthetically, the ideal Renaissance dome, like the Roman dome before it (for example, the Pantheon) was a hemisphere, but in the case of the Florence Cathedral such a structure would have been unsafe, so Brunelleschi created a pointed dome that would create less thrust laterally. He constructed eight major ribs of stone and, between them, sixteen minor ones, using a light infilling. He constructed a double-shell dome, which was the first of this type but is a design that has been followed by nearly all major architects since this date (for example Michelangelo's Saint Peter's in Rome, and Wren's Saint Paul's in London). Further strength is given by a herringbone pattern of masonry and brick infilling, and by tension chains of massive blocks, fastened with iron and with iron chains above, girding the dome at three levels. A large lantern finally stops the 50 ft (15.25 m) diameter eye at the point of the dome. Construction of the Florence Cathedral dome was begun on 7 August 1420 and was completed to the base of the lantern sixteen years later. It survives as the peak of Brunelleschi's Renaissance achievement.

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SUBJECT AREA: Electricity, Public utilities

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Ferranti, who had taken an interest in electrical and mechanical devices from an early age, was educated at St Augustine's College in Ramsgate and for a short time attended evening classes at University College, London. Rather than pursue an academic career, Ferranti, who had intense practical interests, found employment in 1881 with the Siemens Company (see Werner von Siemens) in their experimental department. There he had the opportunity to superintend the installation of electric-lighting plants in various parts of the country. Becoming acquainted with Alfred Thomson, an engineer, Ferranti entered into a short-lived partnership with him to manufacture the Ferranti alternator. This generator, with a unique zig-zag armature, had an efficiency exceeding that of all its rivals. Finding that Sir William Thomson had invented a similar machine, Ferranti formed a company with him to combine the inventions and produce the Ferranti- Thomson machine. For this the Hammond Electric Light and Power Company obtained the sole selling rights.

In 1885 the Grosvenor Gallery Electricity Supply Corporation was having serious problems with its Gaulard and Gibbs series distribution system. Ferranti, when consulted, reviewed the design and recommended transformers connected across constant-potential mains. In the following year, at the age of 22, he was appointed Engineer to the company and introduced the pattern of electricity supply that was eventually adopted universally. Ambitious plans by Ferranti for London envisaged the location of a generating station of unprecedented size at Deptford, about eight miles (13 km) from the city, a departure from the previous practice of placing stations within the area to be supplied. For this venture the London Electricity Supply Corporation was formed. Ferranti's bold decision to bring the supply from Deptford at the hitherto unheard-of pressure of 10,000 volts required him to design suitable cables, transformers and generators. Ferranti planned generators with 10,000 hp (7,460 kW)engines, but these were abandoned at an advanced stage of construction. Financial difficulties were caused in part when a Board of Trade enquiry in 1889 reduced the area that the company was able to supply. In spite of this adverse situation the enterprise continued on a reduced scale. Leaving the London Electricity Supply Corporation in 1892, Ferranti again started his own business, manufacturing electrical plant. He conceived the use of wax-impregnated paper-insulated cables for high voltages, which formed a landmark in the history of cable development. This method of flexible-cable manufacture was used almost exclusively until synthetic materials became available. In 1892 Ferranti obtained a patent which set out the advantages to be gained by adopting sector-shaped conductors in multi-core cables. This was to be fundamental to the future design and development of such cables.

A total of 176 patents were taken out by S.Z. de Ferranti. His varied and numerous inventions included a successful mercury-motor energy meter and improvements to textile-yarn produc-tion. A transmission-line phenomenon where the open-circuit voltage at the receiving end of a long line is greater than the sending voltage was named the Ferranti Effect after him.

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SUBJECT AREA: Architecture and building, Civil engineering

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Auguste Perret belonged to the family contracting firm of A. \& G.Perret, which early specialized in the use of reinforced concrete. His eight-storey building at 25 bis Rue Franklin in Paris, built in 1902–3, was the first example of frame construction in this material and established its viability for structural design. Both ground plan and façade are uncompromisingly modern, the simplicity of the latter being relieved by unobtrusive faience decoration. The two upper floors, which are set back, and the open terrace roof garden set a pattern for future schemes. All of Perret's buildings had reinforced-concrete structures and this was clearly delineated on the façade designs. The concept was uncommon in Europe at the time, when eclecticism still largely ruled, but was derived from the late nineteenth-century skyscraper façades built by Louis Sullivan in America. In 1905–6 came Perret's Garage Ponthieu in Paris; a striking example of exposed concrete, it had a central façade window glazed in modern design in rich colours. By the 1920s ferroconcrete was in more common use, but Perret still led the field in France with his imaginative, bold use of the material. His most original structure is the Church of Notre Dame at Le Raincy on the outskirts of Paris (1922–3). The imposing exterior with its tall tower in diminishing stages is finely designed, but the interior has magnificence. It is a wide, light church, the segmented vaulted roof supported on slender columns. The whole structure is in concrete apart from the glass window panels, which extend the full height of the walls all around the church. They provide a symphony of colour culminating in deep blue behind the altar. Because of the slenderness of the columns and the richness of the glass, this church possesses a spiritual atmosphere and unimpeded sight and sound of and from the altar for everyone. It became the prototype for churches all over Europe for decades, from Moser in prewar Switzerland to Spence's postwar Coventry Cathedral.

In a long working life Perret designed buildings for a wide range of purposes, adhering to his preference for ferroconcrete and adapting its use according to each building's needs. In the 1940s he was responsible for the railway station at Amiens, the Atomic Centre at Saclay and, one of his last important works, the redevelopment after wartime damage of the town centre of Le Havre. For the latter, he laid out large open squares enclosed by prefabricated units, which display a certain monotony, despite the imposing town hall and Church of St Joseph in the Place de L'Hôtel de Ville.

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SUBJECT AREA: Mechanical, pneumatic and hydraulic engineering, Textiles

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Richard Roberts was the son of a shoemaker and tollkeeper and received only an elementary education at the village school. At the age of 10 his interest in mechanics was stimulated when he was allowed by the Curate, the Revd Griffith Howell, to use his lathe and other tools. As a young man Roberts acquired a considerable local reputation for his mechanical skills, but these were exercised only in his spare time. For many years he worked in the local limestone quarries, until at the age of 20 he obtained employment as a pattern-maker in Staffordshire. In the next few years he worked as a mechanic in Liverpool, Manchester and Salford before moving in 1814 to London, where he obtained employment with Henry Maudslay. In 1816 he set up on his own account in Manchester. He soon established a reputation there for gear-cutting and other general engineering work, especially for the textile industry, and by 1821 he was employing about twelve men. He built machine tools mainly for his own use, including, in 1817, one of the first planing machines.

One of his first inventions was a gas meter, but his first patent was obtained in 1822 for improvements in looms. His most important contribution to textile technology was his invention of the self-acting spinning mule, patented in 1825. The normal fourteen-year term of this patent was extended in 1839 by a further seven years. Between 1826 and 1828 Roberts paid several visits to Alsace, France, arranging cottonspinning machinery for a new factory at Mulhouse. By 1826 he had become a partner in the firm of Sharp Brothers, the company then becoming Sharp, Roberts \& Co. The firm continued to build textile machinery, and in the 1830s it built locomotive engines for the newly created railways and made one experimental steam-carriage for use on roads. The partnership was dissolved in 1843, the Sharps establishing a new works to continue locomotive building while Roberts retained the existing factory, known as the Globe Works, where he soon after took as partners R.G.Dobinson and Benjamin Fothergill (1802–79). This partnership was dissolved c. 1851, and Roberts continued in business on his own for a few years before moving to London as a consulting engineer.

During the 1840s and 1850s Roberts produced many new inventions in a variety of fields, including machine tools, clocks and watches, textile machinery, pumps and ships. One of these was a machine controlled by a punched-card system similar to the Jacquard loom for punching rivet holes in plates. This was used in the construction of the Conway and Menai Straits tubular bridges. Roberts was granted twenty-six patents, many of which, before the Patent Law Amendment Act of 1852, covered more than one invention; there were still other inventions he did not patent. He made his contribution to the discussion which led up to the 1852 Act by publishing, in 1830 and 1833, pamphlets suggesting reform of the Patent Law.

In the early 1820s Roberts helped to establish the Manchester Mechanics' Institute, and in 1823 he was elected a member of the Literary and Philosophical Society of Manchester. He frequently contributed to their proceedings and in 1861 he was made an Honorary Member. He was elected a Member of the Institution of Civil Engineers in 1838. From 1838 to 1843 he served as a councillor of the then-new Municipal Borough of Manchester. In his final years, without the assistance of business partners, Roberts suffered financial difficulties, and at the time of his death a fund for his aid was being raised.

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