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1 pointed architecture
English-German dictionary of Architecture and Construction > pointed architecture
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2 pointed architecture
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3 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 -
4 pointed
pointed ['pɔɪntɪd](b) figurative (comment, remark, look) qui en dit long, lourd de sous-entendus; (reference) peu équivoque►► Architecture pointed arch arche f en ogive;Architecture pointed style style m gothique -
5 pointed
adjective (having a sharp end: a pointed nose; pointed shoes.) koničast* * *[pɔintid]adjective ( pointedly adverb)šilast, koničastfiguratively oster, zbadljiv; figuratively duhovit, odločen; vperjen (at v kaj); architecture pointed roof — gotska šilasta streha -
6 Holabird, William
[br]b. 11 September 1854 American Union, New York, USAd. 19 July 1923 Evanston, Illinois, USA[br]American architect who contributed to the development of steel framing, a type of structure that rendered possible the erection of the skyscraper.[br]The American skyscraper was, in the 1870s and 1880s, very much the creation of what came to be known as the Chicago school of architecture. It was the most important American contribution to the urban architectural scene. At this time conditions were ripe for this type of office development, and in the big cities, notably Chicago and New York, steeply rising land values provided the incentive to build high; the structural means to do so had been triggered by the then low costs of making quality iron and steel. The skyscraper appeared after the invention of the passenger lift by Otis and the pioneer steel-frame work of Jenney. In 1875 Holabird was working in Jenney's office in Chicago. By 1883 he had set up in private practice, joined by another young architect, Martin Roche (1855–1927), and together they were responsible for the Tacoma Building (1887–9) in Chicago. In this structure the two front façades were entirely non-load-bearing and were carried by an internal steel skeleton; only the rear walls were load-bearing. The design of the building was not revolutionary (this had to wait for L.H. Sullivan) but was traditional in form. It was the possibility of being able to avoid load-bearing outer walls that enabled a building to rise above some nine storeys, and the thirteen-storeyed Tacoma Building pointed the way to the future development of the skyscraper. The firm of Holabird \& Roche continued in the following decades in Chicago to design and construct further high-quality, although lower, commercial buildings such as those in South Michigan Avenue and the McClurg Building. However, they are best remembered for their contribution in engineering to the development of high-rise construction.[br]Further ReadingF.Mujica, 1929, History of the Skyscraper, Paris: Archaeology and Architecture Press. C.W.Condit, 1964, The Chicago School of Architecture: A History of Commercial andPublic Building in the Chicago Area 1875–1925, Chicago: University of Chicago Press. J.W.Rudd (compiler), 1966, Holabird and Roche: Chicago Architects, American Association of Architectural Bibliographers.DY -
7 Brunelleschi, Filippo
SUBJECT AREA: Architecture and building[br]b. 1377 Florence, Italyd. 15 April 1446 Florence, Italy[br]Italian artist, craftsman and architect who introduced the Italian Renaissance style of classical architecture in the fifteenth century.[br]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.[br]Further ReadingPeter Murray, 1963, The Architecture of the Italian Renaissance, Batsford, Ch. 2. Howard Saalman, 1980, Filippo Brunelleschi: The Cupola of Santa Maria del Fiore, Zwemmer.Piero Sanpaolesi, 1977, La Cupola di Santa Maria del Fiore: Il Progetto: La Costruzione, Florence: Edam.Eugenio Battisti, 1981, Brunelleschi: The Complete Work, Thames and Hudson.DY -
8 pinnacle
['pinəkl]1) (a tall thin spire built on the roof of a church, castle etc.) stolpič2) (a high pointed rock or mountain: It was a dangerous pinnacle to climb.) vrh3) (a high point (of achievement, success etc): He has reached the pinnacle of his career.) vrhunec* * *[pínəkl]1.nounarchitecturestolpič, majhna kupola; konica (skale, hriba), vrh; figuratively vrhunec, višek;2.transitive verb architectureokrasiti s stolpiči; povišati; biti vrhunec česa; tvoriti vrh -
9 стиль
муж. style использующий свободный стиль ≈ спорт freestyle литературный стиль ≈ pen, pencraft мавританский стиль ≈ Moresque готический стиль ≈ Gothic, pointed style образный стиль ≈ figurative style архаичный стиль ≈ archaism архитектурный стиль ≈ architecture новый стиль ≈ (григорианский календарь) New Style старый стиль ≈ (юлианский календарь) Old Stylem.style -
10 segmental
segmental [seg'mentəl]segmentaire►► Architecture segmental arch arc m surbaissé, voûte f surbaissée; (of bridge) arche f surbaissée; (pointed) ogive f surbaissée -
11 thrust
(a) (push, shove → finger) enfoncer; (→ handkerchief) fourrer; (→ knife) plonger, planter, enfoncer;∎ he thrust his finger/elbow into my ribs il m'a enfoncé le doigt/le coude dans les côtes;∎ I thrust the stick into the jar j'ai plongé le bâton dans le pot;∎ he thrust his sword into its scabbard il a glissé son épée dans son fourreau;∎ to thrust one's hands into one's pockets enfoncer ou fourrer les mains dans ses poches;∎ he thrust her into the cell il l'a poussée violemment dans la cellule;∎ she thrust the money towards him elle a brusquement poussé l'argent vers lui;∎ she thrust the money into his hands/into his bag elle lui a fourré l'argent dans les mains/dans le sac;∎ I had a gun thrust at me on m'a mis un revolver sous le nez;∎ she thrust me to the front elle m'a poussé devant;∎ to thrust one's way through the crowd/to the front se frayer un chemin à travers la foule/pour être devant(b) (force → responsibility, fame) imposer;∎ the job was thrust upon me on m'a imposé ce travail;∎ to be thrust into a position of responsibility être parachuté à un poste à responsabilités;∎ fame was thrust upon her overnight la gloire lui est tombée dessus du jour au lendemain;∎ he was thrust into the limelight il a été mis en vedette;∎ to thrust oneself on or upon sb imposer sa présence à qn, s'imposer à qn∎ he thrust past her (rudely) il l'a bousculée en passant devant elle; (quickly) il est passé devant elle comme une flèche;∎ figurative towers thrusting upwards into the sky des tours qui s'élancent vers le ciel∎ he thrust at him with a knife il a essayé de lui donner un coup de couteau3 noun∎ with a single thrust of his sword d'un seul coup d'épée∎ a few well-aimed thrusts at the opposition parties quelques pointes bien senties contre les partis de l'opposition(d) (of argument, story) sens m, idée f; (of policy) idée f directrice; (of research) aspect m principal;∎ the main thrust of her argument l'idée maîtresse de son raisonnement(person, thing) écarter brusquement; (suggestion) écarter ou rejeter brusquementrepousserpousser en avant brusquement;∎ to thrust oneself forward se frayer un chemin; figurative se mettre en avant(physically) s'introduire de force(finger, pointed object) enfoncer;∎ she thrust her hand in elle a brusquement mis la main dedans;∎ to thrust one's way in se frayer un passage pour entrer∎ she thrust her head out of the window elle a brusquement passé la tête par la fenêtre;∎ to thrust out one's chest bomber la poitrine;∎ to thrust one's way out se frayer un chemin pour sortirs'élancer, jaillir -
12 Computers
The brain has been compared to a digital computer because the neuron, like a switch or valve, either does or does not complete a circuit. But at that point the similarity ends. The switch in the digital computer is constant in its effect, and its effect is large in proportion to the total output of the machine. The effect produced by the neuron varies with its recovery from [the] refractory phase and with its metabolic state. The number of neurons involved in any action runs into millions so that the influence of any one is negligible.... Any cell in the system can be dispensed with.... The brain is an analogical machine, not digital. Analysis of the integrative activities will probably have to be in statistical terms. (Lashley, quoted in Beach, Hebb, Morgan & Nissen, 1960, p. 539)It is essential to realize that a computer is not a mere "number cruncher," or supercalculating arithmetic machine, although this is how computers are commonly regarded by people having no familiarity with artificial intelligence. Computers do not crunch numbers; they manipulate symbols.... Digital computers originally developed with mathematical problems in mind, are in fact general purpose symbol manipulating machines....The terms "computer" and "computation" are themselves unfortunate, in view of their misleading arithmetical connotations. The definition of artificial intelligence previously cited-"the study of intelligence as computation"-does not imply that intelligence is really counting. Intelligence may be defined as the ability creatively to manipulate symbols, or process information, given the requirements of the task in hand. (Boden, 1981, pp. 15, 16-17)The task is to get computers to explain things to themselves, to ask questions about their experiences so as to cause those explanations to be forthcoming, and to be creative in coming up with explanations that have not been previously available. (Schank, 1986, p. 19)In What Computers Can't Do, written in 1969 (2nd edition, 1972), the main objection to AI was the impossibility of using rules to select only those facts about the real world that were relevant in a given situation. The "Introduction" to the paperback edition of the book, published by Harper & Row in 1979, pointed out further that no one had the slightest idea how to represent the common sense understanding possessed even by a four-year-old. (Dreyfus & Dreyfus, 1986, p. 102)A popular myth says that the invention of the computer diminishes our sense of ourselves, because it shows that rational thought is not special to human beings, but can be carried on by a mere machine. It is a short stop from there to the conclusion that intelligence is mechanical, which many people find to be an affront to all that is most precious and singular about their humanness.In fact, the computer, early in its career, was not an instrument of the philistines, but a humanizing influence. It helped to revive an idea that had fallen into disrepute: the idea that the mind is real, that it has an inner structure and a complex organization, and can be understood in scientific terms. For some three decades, until the 1940s, American psychology had lain in the grip of the ice age of behaviorism, which was antimental through and through. During these years, extreme behaviorists banished the study of thought from their agenda. Mind and consciousness, thinking, imagining, planning, solving problems, were dismissed as worthless for anything except speculation. Only the external aspects of behavior, the surface manifestations, were grist for the scientist's mill, because only they could be observed and measured....It is one of the surprising gifts of the computer in the history of ideas that it played a part in giving back to psychology what it had lost, which was nothing less than the mind itself. In particular, there was a revival of interest in how the mind represents the world internally to itself, by means of knowledge structures such as ideas, symbols, images, and inner narratives, all of which had been consigned to the realm of mysticism. (Campbell, 1989, p. 10)[Our artifacts] only have meaning because we give it to them; their intentionality, like that of smoke signals and writing, is essentially borrowed, hence derivative. To put it bluntly: computers themselves don't mean anything by their tokens (any more than books do)-they only mean what we say they do. Genuine understanding, on the other hand, is intentional "in its own right" and not derivatively from something else. (Haugeland, 1981a, pp. 32-33)he debate over the possibility of computer thought will never be won or lost; it will simply cease to be of interest, like the previous debate over man as a clockwork mechanism. (Bolter, 1984, p. 190)t takes us a long time to emotionally digest a new idea. The computer is too big a step, and too recently made, for us to quickly recover our balance and gauge its potential. It's an enormous accelerator, perhaps the greatest one since the plow, twelve thousand years ago. As an intelligence amplifier, it speeds up everything-including itself-and it continually improves because its heart is information or, more plainly, ideas. We can no more calculate its consequences than Babbage could have foreseen antibiotics, the Pill, or space stations.Further, the effects of those ideas are rapidly compounding, because a computer design is itself just a set of ideas. As we get better at manipulating ideas by building ever better computers, we get better at building even better computers-it's an ever-escalating upward spiral. The early nineteenth century, when the computer's story began, is already so far back that it may as well be the Stone Age. (Rawlins, 1997, p. 19)According to weak AI, the principle value of the computer in the study of the mind is that it gives us a very powerful tool. For example, it enables us to formulate and test hypotheses in a more rigorous and precise fashion than before. But according to strong AI the computer is not merely a tool in the study of the mind; rather the appropriately programmed computer really is a mind in the sense that computers given the right programs can be literally said to understand and have other cognitive states. And according to strong AI, because the programmed computer has cognitive states, the programs are not mere tools that enable us to test psychological explanations; rather, the programs are themselves the explanations. (Searle, 1981b, p. 353)What makes people smarter than machines? They certainly are not quicker or more precise. Yet people are far better at perceiving objects in natural scenes and noting their relations, at understanding language and retrieving contextually appropriate information from memory, at making plans and carrying out contextually appropriate actions, and at a wide range of other natural cognitive tasks. People are also far better at learning to do these things more accurately and fluently through processing experience.What is the basis for these differences? One answer, perhaps the classic one we might expect from artificial intelligence, is "software." If we only had the right computer program, the argument goes, we might be able to capture the fluidity and adaptability of human information processing. Certainly this answer is partially correct. There have been great breakthroughs in our understanding of cognition as a result of the development of expressive high-level computer languages and powerful algorithms. However, we do not think that software is the whole story.In our view, people are smarter than today's computers because the brain employs a basic computational architecture that is more suited to deal with a central aspect of the natural information processing tasks that people are so good at.... hese tasks generally require the simultaneous consideration of many pieces of information or constraints. Each constraint may be imperfectly specified and ambiguous, yet each can play a potentially decisive role in determining the outcome of processing. (McClelland, Rumelhart & Hinton, 1986, pp. 3-4)Historical dictionary of quotations in cognitive science > Computers
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