reinforced+concrete+work

f pl

Beton concrete and reinforced concrete work

1 concrete, definite, particular, specific.

2 concrete, physical, non-abstract.

1 concrete.

2 concrete noun.

1^st person singular (yo) present indicative of spanish verb: concretar.

* * *

► adjetivo

1 (real) concrete, real

2 (particular) particular, specific

■ quiero ese libro concreto I want that particular book

\

en concreto (en particular) in particular, specifically 2 (exactamente) exactly

en el caso concreto de... in the particular case of...

* * *

1) concrete

2) specific

* * *

1. ADJ

1) (=específico) [medida, propuesta] specific, concrete; [hecho, resultado] specific; [fecha, hora] definite, particular

2) (=no abstracto) concrete

3)

a) [con verbos]

b) [con sustantivos]

SM LAm (=hormigón) concrete

* * *

- ta adjetivo

a) ( específico) <política/acusación> concrete, specific; <motivo/ejemplo/pregunta> specific; <fecha/hora> definite; < lugar> specific, particular

b) ( no abstracto) concrete

masculino (AmL) concrete

- concreto armado

* * *

= definite, fine [finer -comp., finest -sup.], given, individual, one, specific, specified, single, particular, defined, concrete, designated, circumscribed, targeted, coextensive [co-extensive], narrowly focused.

Ex. I don't see that we are going to stand a chance unless there is something very definite coming out of this conference and similar conferences where these ideas are advanced.

Ex. A longer abstract can help in the finer points of selection, but will take longer to write and also longer to scan.

Ex. The notation for any given geographical division varies between classes and between different parts of the same classes.

Ex. The series area includes the series title, an indication of the responsibility for the series (often series editors), and the number of the individual work within the series, if the work is one of a numbered series.

Ex. Note the different definitions, and the different boundaries for this one subject area.

Ex. Various publishers have reputations for specific styles, subject areas or works for specific audiences.

Ex. If access is limited to certain specified times, the term 'off-line' is applied.

Ex. In other words, the elements of any single case may point to several concepts; in this sense, the cases are like icebergs -- more is hidden han appears on the surface.

Ex. It is possible to identify an item uniquely within a particular institution or agency by a running accession number.

Ex. The Pearson correlation coefficient has been calculated to find out the correlation and to test the null hypothesis that there is no correlation among publishing in journals, citing from journals and use of journals by a defined set of researchers.

Ex. The second exercise in this course was to outline priorities in library services which had to be concrete, describable and achievable.

Ex. It is tremendously valuable to library staff (particularly in libraries with a designated departmental structure) to maintain close professional ties with local academic departments.

Ex. Library and Information Plans (LIP) are 5-year management plans for information provision in a circumscribed region.

Ex. Threats to the integrity of science include interest in paranormal phenomena, sensationalism of science and pressure for targeted research.

Ex. Bibliographies in general are also retrieval devices; the difference here is that the bibliography is not coextensive with the stock of the library it may omit items in stock and include others not in stock.

Ex. Some articles cover broad themes while others are more narrowly focused.

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* adaptar a una aplicación concreta = harness.

* búsqueda de documentos concretos = item search.

* confinado a un lugar concreto = site-bound.

* detalles concretos = fine detail(s).

* en concreto = in particular, to be specific.

* enfocado hacia un objetivo concreto = focused [focussed].

* en la situación concreta = on the scene.

* ente concreto = concrete entity.

* en un momento concreto = at a particular point in time.

* especializado en un mercado concreto = niche.

* relacionado a un caso concreto = case-related.

* * *

- ta adjetivo

a) ( específico) <política/acusación> concrete, specific; <motivo/ejemplo/pregunta> specific; <fecha/hora> definite; < lugar> specific, particular

b) ( no abstracto) concrete

masculino (AmL) concrete

- concreto armado

* * *

* * *

1 (específico) ‹política/acusación› concrete, specific

en tu caso concreto in your particular case

por un motivo concreto for a specific reason

fijemos una fecha/hora concreta let's fix a definite date/time

quieren reformas/soluciones concretas they want real o concrete reforms/solutions

un lugar concreto a specific o particular place

una pregunta concreta a specific question

en concreto: quiero saber, en concreto, cuánto me va a costar what I want to know specifically is how much it is going to cost

la conferencia versó sobre pintura española, en concreto, Goya y Velázquez the lecture was on Spanish painting, Goya and Velázquez, to be precise o to be more specific

en una zona en concreto in a particular o specific area

2 (no abstracto) concrete

lo concreto y lo abstracto the concrete and the abstract

( AmL)

concrete

reinforced concrete

* * *

1ª persona singular (yo) presente indicativo

3ª persona singular (él/ella/usted) pretérito indicativo

a) ( concertar) ‹fecha/precio› to fix, set

b) (precisar, definir) to be specific about;

◊ no concretamos nada we didn't settle on anything definite

◊ a ver si concretas try and be more specific;

a) ( específico) ‹política/solución/acusación› concrete, specific;

◊ en tu caso concreto in your particular case;

b) ( no abstracto) concrete

◊ concreto armado reinforced concrete

* * *

concreto¹, -a adj

1. [no abstracto] concrete;

un concepto concreto a concrete concept

2. [determinado] specific, particular;

aún no tenemos una fecha concreta we don't have a definite date yet;

estoy buscando un disco concreto, no me vale cualquiera I'm looking for a particular o specific record, not just any one;

si no me das los detalles concretos no te podré ayudar if you don't give me the specific o precise details I won't be able to help you;

en el caso concreto de Nicaragua,… in the specific case of Nicaragua,…;

en concreto, todavía no sabemos nada in short, we don't know anything yet;

piensa volver a Europa, en concreto a Francia she's thinking of coming back to Europe, to France to be precise;

es un experto en economía, y más en concreto, en gestión de empresas he's an expert in economics, more specifically in business management;

nada en concreto nothing definite;

la culpa no se le puede atribuir a nadie en concreto there is no one person who is to blame;

en ningún sitio en concreto nowhere in particular, not in any one place

concreto² nm

* * *

I adj

1 specific;

en concreto specifically;

nada en concreto nothing specific

2 (no abstracto) concrete

II m L.Am.

concrete

* * *

concreto, -ta adj

1) : concrete, actual

2) : definite, specific

en concreto: specifically

♦ concretamente adv

concreto nm

hormigón: concrete

* * *

concreto adj

1. (particular) specific

2. (real) actual

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: Architecture and building, Civil engineering

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Eugène Freyssinet was an army engineer during the First World War who pioneered pre-stressed reinforced concrete and experimented with building concrete bridges. After 1918 he formed his own company to develop his ideas. He investigated the possibilities of very high-strength concrete, and in so doing studied shrinkage and creep. He combined high-quality concrete with highly stressed, stretched steel to give top quality results. His work in 1926 on Plougastel Bridge, at that time the longest reinforced concrete bridge, is a notable example of his use of this technique. In 1916 Freyssinet had built his famous airship hangars at Orly, which were destroyed in the Second World War; the hangars were roofed in parabolic sections to a height of about 200 ft. In 1934 he succeeded in saving the Ocean Terminal at Le Havre from sinking into the mud and being covered by the sea by using his pre-stressing techniques. By 1938 he had developed a superior method of pre-stressing with steel which led to widespread adoption of his methods.

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SUBJECT AREA: Architecture and building, Civil engineering

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Nervi early established a reputation in the use of reinforced concrete with his stadium in Florence (1930–2). This elegant concrete structure combines graceful curves with functional solidity and is capable of seating some 35,000 spectators. The stadium was followed by the aircraft hangars built for the Italian Air Force at Orvieto and Ortebello, in which he spanned the vast roofs of the hangars with thin-shelled vaults supported by precast concrete beams and steel-reinforced ribs. The structural strength and subtle curves of these ribbed roofs set the pattern for Nervi's techniques, which he subsequently varied and elaborated on to solve problems that arose in further commissions.

Immediately after the Second World War Italy was short of supplies of steel for structural purposes so, in contrast to the USA, Britain and Germany, did not for some years construct any quantity of steel-framed rectangular buildinngs used for offices, housing or industrial use. It was Nervi who led the way to a ferroconcrete approach, using a new type of structure based on these materials in the form of a fine steel mesh sprayed with cement mortar and used to roof all kinds of structures. It was a method that resulted in expressionist curves instead of rectangular blocks, and the first of his great exhibition halls at Turin (1949), with a vault span of 240 ft (73 m), was an early example of this technique. Nervi continued to create original and beautiful ferroconcrete structures of infinite variety: for example, the hall at the Lido di Roma, Ostia; the terme at Chianciano; and the three buildings that he designed for the Rome Olympics in 1960. The Palazzetto dello Sport is probably the most famous of these, for which he co-operated with the architect Annibale Vitellozzi to construct a small sports palace seating 5,000 spectators under a concrete "big top" of 194 ft (59 m) diameter, its enclosing walls supported by thirtysix guy ropes of concrete; inside, the elegant roof displays a floral quality. In 1960 Nervi returned to Turin to build his imaginative Palace of Labour for the centenary celebrations of Garibaldi and Victor Emmanuel in the city. This vast hall, like the Crystal Palace in England a century earlier (see Paxton), had to be built quickly and be suitable for later adaptation. It was therefore constructed partly in steel, and the metal supporting columns rose to palm-leaf capitals reminiscent of those in ancient Nile palaces.

Nervi's aim was always to create functional buildings that simultaneously act by their aesthetic qualities as an effective educational influence. Functionalism for Nervi never became "brutalism". In consequence, his work is admired by the lay public as well as by architects. He collaborated with many of the outstanding architects of the day: with Gio Ponti on the Pirelli Building in Milan (1955–9); with Zehrfuss and Breuer on the Y-plan UNESCO Building in Paris (1953–7); and with Marcello Piacentini on the 16,000-seat Palazzo dello Sport in Rome. Nervi found time to write a number of books on building construction and design, lectured in the Universities of Rio de Janiero and Buenos Aires, and was for many years Professor of Technology and Technique of Construction in the Faculty of Architecture at the University of Rome. He continued to design new structures until well into the 1970s.

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SUBJECT AREA: Architecture and building

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Wright began his career in 1887 working in the Chicago offices of Adler \& Sullivan. He conceived a great admiration for Sullivan, who was then concentrating upon large commercial projects in modern mode, producing functional yet decorative buildings which took all possible advantage of new structural methods. Wright was responsible for many of the domestic commissions.

In 1893 Wright left the firm in order to set up practice on his own, thus initiating a career which was to develop into three distinct phases. In the first of these, up until the First World War, he was chiefly designing houses in a concept in which he envisaged "the house as a shelter". These buildings displayed his deeply held opinion that detached houses in country areas should be designed as an integral part of the landscape, a view later to be evidenced strongly in the work of modern Finnish architects. Wright's designs were called "prairie houses" because so many of them were built in the MidWest of America, which Wright described as a "prairie". These were low and spreading, with gently sloping rooflines, very plain and clean lined, built of traditional materials in warm rural colours, blending softly into their settings. Typical was W.W.Willit's house of 1902 in Highland Park, Illinois.

In the second phase of his career Wright began to build more extensively in modern materials, utilizing advanced means of construction. A notable example was his remarkable Imperial Hotel in Tokyo, carefully designed and built in 1916–22 (now demolished), with special foundations and structure to withstand (successfully) strong earthquake tremors. He also became interested in the possibilities of reinforced concrete; in 1906 he built his church at Oak Park, Illinois, entirely of this material. In the 1920s, in California, he abandoned his use of traditional materials for house building in favour of precast concrete blocks, which were intended to provide an "organic" continuity between structure and decorative surfacing. In his continued exploration of the possibilities of concrete as a building material, he created the dramatic concept of'Falling Water', a house built in 1935–7 at Bear Run in Pennsylvania in which he projected massive reinforced-concrete terraces cantilevered from a cliff over a waterfall in the woodlands. In the later 1930s an extraordinary run of original concepts came from Wright, then nearing 70 years of age, ranging from his own winter residence and studio, Taliesin West in Arizona, to the administration block for Johnson Wax (1936–9) in Racine, Wisconsin, where the main interior ceiling was supported by Minoan-style, inversely tapered concrete columns rising to spreading circular capitals which contained lighting tubes of Pyrex glass.

Frank Lloyd Wright continued to work until four days before his death at the age of 91. One of his most important and certainly controversial commissions was the Solomon R.Guggenheim Museum in New York. This had been proposed in 1943 but was not finally built until 1956–9; in this striking design the museum's exhibition areas are ranged along a gradually mounting spiral ramp lit effectively from above. Controversy stemmed from the unusual and original design of exterior banding and interior descending spiral for wall-display of paintings: some critics strongly approved, while others, equally strongly, did not.

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SUBJECT AREA: Architecture and building, Civil engineering

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Monier was a commercial gardener who in the course of his work was struck with the idea of inserting iron reinforcement in concrete tubs such as were used for growing orange trees. He patented this idea in 1867 and exhibited his invention the same year at the Paris Exposition. It soon occurred to him to apply the same principles to other engineering structures such as railway sleepers, pipes, floors, arches and bridges. In 1878 he took out a French patent for reinforced concrete beams and held numerous other patents for the material. Although he was not the only one to realize the benefits of combining a concrete girder or slab to resist compressive forces with iron or steel wires or rods to resist tensile stresses, "Das System Monier" was known as such by 1887 throughout Europe.

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stuffed, deep-drawn, inlaid, inwrought.

1 cold cured meat (food).

2 sausage-making, stuffing.

3 sausage, banger.

4 inlaid work, inlay.

5 lace insert.

past participle of spanish verb: embutir.

* * *

► nombre masculino

1 (alimento) processed cold meat, cold cut

2 (incrustación) inlay

* * *

1) (Culin) sausage

2) (Téc) inlay, inlaid work, marquetry

3) Cono Sur, Méx, Ven lace insert

4) (=acción) stuffing

* * *

1) (Coc)

a) ( salchicha) sausage; ( fiambre) cold meat

b) ( acción) stuffing

2) (de madera, metal) inlaying; ( de una chapa) pressing

* * *

= built-in, recessed.

Ex. If however the furniture is built-in or built of reinforced concrete then it does present a more difficult problem.

Ex. The recessed spaces on each side of the chimney breast hold small semi-circular tables of marquetry with mirrors hanging above them.

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* iluminación embutida = recessed lighting.

* luz embutida = recessed light, recessed downlight, downlight.

* * *

1) (Coc)

a) ( salchicha) sausage; ( fiambre) cold meat

b) ( acción) stuffing

2) (de madera, metal) inlaying; ( de una chapa) pressing

* * *

* * *

A ( Coc)

1 (salchicha) sausage; (fiambre) cold meat ( stuffed into animal intestines or similar synthetic casing)

2 (acción) stuffing

1 (de madera, metal) inlaying

2 (de una chapa) pressing

* * *

el participio

* * *

embutido nm

1. [comida] cold cured meat

2. [acción] sausage-making, stuffing

3. Am [entredós] panel of lace

* * *

m GASTR type of dry sausage

* * *

embutido nm

1) : sausage

2) : inlaid work

* * *

embutido n cold meat

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: Architecture and building

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Lubetkin studied in Moscow, where in the years immediately after 1917 he met Vesnin and Rodchenko and absorbed the contemporary Constructivist ideas. He then moved on to Paris and worked with Auguste Perret, coming in on the ground floor of the modern movement. He went to England in 1930 and two years later formed the Tecton group, leading six young architects who had newly graduated from the Architectural Association in London. Lubetkin's early commissions in England were for animals rather than humans. He designed the gorilla house (1932) at the Regent's Park Zoological Gardens, after which came his award-winning Penguin Pool there, a sculptural blend of curved planes in reinforced concrete. He also worked at Whipsnade and at Dudley Zoo. The name of Tecton had quickly became synonymous with modern methods of design and structure, particularly the use of reinforced concrete; such work was not common in the 1930s in Britain. In 1938–9 the firm was responsible for another pace-setting design, the Finsbury Health Centre in London. Tecton was disbanded during the Second World War, and although it was reformed in the late 1940s it did not recover its initiative in leading the field of modern work. Lubetkin lived on to be an old man but his post-war career did not fulfil his earlier promise and brilliance. He was appointed Architect-Planner of the Peterlee New Town in 1948, but he resigned after a few years and no other notable commissions materialized. In 1982 the Royal Institute of British Architects belatedly remembered him with the award of their Gold Medal.

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1 lumpy mess, lumpy mixture.

2 eyesore, ugly sight.

3 concrete, ferroconcrete, reinforced concrete.

4 boa, boa constrictor.

* * *

► nombre masculino

1 COCINA (masa) stodge

* * *

1) (Culin)

2) (=hormigón) concrete

3) (Arte) (=mezcla) mess, hotchpotch, hodgepodge (EEUU); (=monstruosidad) eyesore, monstrosity

4) CAm, Méx (=dulce) sweet mixture

5) * (=lata) bore

6) Caribe *** (=culo) arse ***, ass (EEUU) ***

* * *

1)

a) (fam) (Coc)

b) (fam) ( obra tosca) eyesore

2) (Const) concrete

3) (Méx) (Zool) boa

* * *

1)

a) (fam) (Coc)

b) (fam) ( obra tosca) eyesore

2) (Const) concrete

3) (Méx) (Zool) boa

* * *

1 ( fam) ( Coc):

el puré/arroz quedó hecho un mazacote the purée/rice was just a horrible lumpy mess

2 ( fam) (obra tosca) eyesore

la escultura es un mazacote the sculpture is an eyesore o a hideous mess

B ( Const) concrete

C ( Méx) ( Zool) boa

* * *

a) (fam) (Coc):

◊ un mazacote a lumpy mess

b) (fam) ( obra tosca) eyesore

* * *

mazacote nm

1. [plato]

2. [objeto, edificio] eyesore;

están construyendo un mazacote de viviendas they're building a housing development that's going to be a complete eyesore o a blot on the landscape

* * *

m fam

stodgy mass fam

* * *

mazacote nm

1) : concrete

2) : lumpy mess (of food)

3) : eyesore, crude work of art

SUBJECT AREA: Architecture and building, Civil engineering

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From 1795 Rondelet was Professor at the Ecole Centrale des Travaux Publics and while there was responsible for a major treatise on building construction: this was his Traité théorique et pratique de l'art de bâtir, published in four volumes in 1802–17. From 1806 he taught at the Ecole Spéciale d'Architecture, which was soon afterwards merged with the Ecole Polytechnique. It was when Rondelet took over the work of com-pleting the Panthéon in Paris, after the death of Jacques-Germain Soufflot, that he had the opportunity of putting some of his particular structural ideas into practice. In 1755 the King had appointed Soufflot architect of the great new church to be dedicated to the patron saint of the city, Sainte Geneviève. In this neo-classical structure based upon Greek cross plan, Soufflot intended four slender piers, each encased in three engaged columns, to support the pendentives for the dome to rise over the crossing. It was a fine and elegant building on a large scale, but by the early nineteenth century, when the church had become a pantheon, cracks were appearing in the masonry. When Rondelet succeeded as architect after Soufflot's death, he strengthened and enlarged the piers, employing a faced concrete structure reinforced with metal. He used a metalreinforced mortar with rubble aggregate.

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SUBJECT AREA: Architecture and building, Domestic appliances and interiors

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Breuer began his student days following an art course in Vienna, but joined the Bauhaus at Weimar, where he later graduated, in 1920. When Gropius re-established the school in purpose-built structures at Dessau, Breuer became a member of the teaching staff in charge of the carpentry and furniture workshops. Much of his time there was spent in design and research into new materials being applied to furniture and interior decoration. The essence of his contribution was to relate the design of furniture to industrial production; in this field he developed the tubular-steel structure, especially in chair design, and experimented with aluminium as a furniture material as well as pieces of furniture made up from modular units. His furniture style was characterized by an elegance of line and a careful avoidance of superfluous detail. By 1926 he had furnished the Bauhaus with such furniture in chromium-plated steel, and two years later had developed a cantilevered chair.

Breuer left the Bauhaus in 1928 and set up an architectural practice in Berlin. In the early 1930s he also spent some time in Switzerland. Notable from these years was his Harnischmacher Haus in Wiesbaden and his apartment buildings in the Dolderthal area of Zurich. His architectural work was at first influenced by constructivism, and then by that of Le Corbusier (see Charles-Edouard Jeanneret). In 1935 he moved to England, where in partnership with F.R.S. Yorke he built some houses and continued to practise furniture design. The Isokon Furniture Co. commissioned him to develop ideas that took advantage of the new bending and moulding processes in laminated wood, one result being his much-copied reclining chair.

In 1937, like so many of the European architectural refugees from Nazism, he found himself under-occupied due to the reluctance of English clients to embrace the modern architectural movement. He went to the United States at Gropius's invitation to join him as a professor at Harvard. Breuer and Gropius were influential in training a new generation of American architects, and in particular they built a number of houses. This partnership ended in 1941 and Breuer set up practice in New York. His style of work from this time on was still modern, but became more varied. In housing, he adapted his style to American needs and used local materials in a functional manner. In the Whitney Museum (1966) he worked in a sculptural, granite-clad style. Often he utilized a bold reinforced-concrete form, as in his collaboration with Pier Luigi Nervi and Bernard Zehrfuss in the Paris UNESCO Building (1953–8) and the US Embassy in the Hague (1954–8). He displayed his masterly handling of poured concrete used in a strikingly expressionistic, sculptural manner in his St John's Abbey (1953–61) in Collegeville, Minnesota, and in 1973 his Church of St Francis de Sale in Michigan won him the top award of the American Institute of Architects.

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SUBJECT AREA: Architecture and building

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A year after he began practice as an architect, Gropius was responsible for the pace-setting Fagus shoe-last factory at Alfeld-an-der-Leine in Germany, one of the few of his buildings to survive the Second World War. Today the building does not appear unusual, but in 1911 it was a revolutionary prototype, heralding the glass curtain walled method of non-load-bearing cladding that later became ubiquitous. Made from glass, steel and reinforced concrete, this factory initiated a new concept, that of the International school of modern architecture.

In 1919 Gropius was appointed to head the new School of Art and Design at Weimar, the Staatliches Bauhaus. The school had been formed by an amalgamation of the Grand Ducal schools of fine and applied arts founded in 1906. Here Gropius put into practice his strongly held views and he was so successful that this small college, which trained only a few hundred students in the limited years of its existence, became world famous, attracting artists, architects and students of quality from all over Europe.

Gropius's idea was to set up an institution where students of all the arts and crafts could work together and learn from one another. He abhorred the artificial barriers that had come to exist between artists and craftsmen and saw them all as interdependent. He felt that manual dexterity was as essential as creative design. Every Bauhaus student, whatever the individual's field of work or talent, took the same original workshop training. When qualified they were able to understand and supervise all the aesthetic and constructional processes that made up the scope of their work.

In 1924, because of political changes, the Weimar Bauhaus was closed, but Gropius was invited to go to Dessau to re-establish it in a new purpose-built school which he designed. This group of buildings became a prototype that designers of the new architectural form emulated. Gropius left the Bauhaus in 1928, only a few years before it was finally closed due to the growth of National Socialism. He moved to England in 1934, but because of a lack of architectural opportunities and encouragement he continued on his way to the USA, where he headed the Department of Architecture at Harvard University's Graduate School of Design from 1937 to 1952. After his retirement from there Gropius formed the Architect's Collaborative and, working with other architects such as Marcel Breuer and Pietro Belluschi, designed a number of buildings (for example, the US Embassy in Athens (1960) and the Pan Am Building in New York (1963)).

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. выполнять; производить; строить

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These alloys can be fabricated at temperatures below 1000°C.

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The frame is fabricated from (or of) steel.

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These tools are made from (or of) stainless steel.

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The ram is manufactured from (or of) solid bar steel.

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Metal hose is produced from titanium strip.

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A large portion of the shop work will be in connection with turning out replacement parts for machining on various machine tools.

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Cast iron is often made into blocks of rough shape and called pig iron.

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Open caissons are usually constructed of reinforced concrete.

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Models can be machined from solid copper stock.