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1 Breuer, Marcel Lajos
[br]b. 22 May 1902 Pécs, Hungaryd. 1 July 1981 New York (?), USA[br]Hungarian member of the European Bauhaus generation in the 1920s, who went on to become a leader in the modern school of architectural and furniture design in Europe and the United States.[br]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.[br]Principal Honours and DistinctionsAmerican Institute of Architects Medal of Honour 1964, Gold Medal 1968. Jefferson Foundation Medal 1968.Bibliography1955, Sun and Shadow, the Philosophy of an Architect, New York: Dodd Read (autobiography).Further ReadingC.Jones (ed.), 1963, Marcel Breuer: Buildings and Projects 1921–1961, New York: Praeger.T.Papachristou (ed.), 1970, Marcel Breuer: New Buildings and Projects 1960–1970, New York: Praeger.DY -
2 Breuer, Marcel
[ˊbrɔɪǝr] Бройер, Марсель (1902—81), архитектор. Один из лидеров функционализма. Венгр по происхождению, учился и работал в Германии. После переезда в США преподавал в Гарварде (1937—46), создал проекты многих архитектурных сооружений, в том числе проект здания ЮНЕСКО в Париже (1953—58)США. Лингвострановедческий англо-русский словарь > Breuer, Marcel
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3 Hering-Breuer reflexes
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4 Hering-Breuer reflex
s.reflejo de Hering-Breuer. -
5 Hering-Breuer reflex
Физиология: рефлекс Геринга-Брейера -
6 Hering-Breuer reflex
منعكس هيرينغ - بروار* * *مُنْعَكَسُ هيرِينْغ - بروار (يؤدي تنبيه نهايات الأعصاب الحسية في الرئتين إلى تقليص التنفس) -
7 Hering-Breuer reflex
English-russian biological dictionary > Hering-Breuer reflex
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8 Hering-Breuer reflex
физиол. рефлекс Геринга-Брейера -
9 Hering Breuer reflex
Physiology & Biochemistryஎறிங்புறூவா¢ தெறிவினை -
10 Whitney Museum of American Art
Художественный музей современного искусства в г. Нью-Йорке, основанный в 1930 скульптором Г. Уитни [ Whitney, Gertrude Vanderbilt]. Широко представлены живопись, графика и скульптура авангардных направлений. Основу собрания составляют произведения, приобретенные Г. Уитни. В музее представлены работы практически всех значительных американских художников XX в. С 1966 размещается в здании, построенном по проекту М. Бруэра [Breuer, Marcel] на Мэдисон-авеню [ Madison Avenue] и напоминающем по форме перевернутую пирамиду. Музей имеет филиалы в Гринич-виллидж (первоначальное местонахождение основной коллекции) и г. Стэмфорде, шт. Коннектикут.тж Whitney Museum; Whitney, TheEnglish-Russian dictionary of regional studies > Whitney Museum of American Art
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11 Architecture and building
Biographical history of technology > Architecture and building
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12 Domestic appliances and interiors
Biographical history of technology > Domestic appliances and interiors
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13 Gropius, Walter Adolf
SUBJECT AREA: Architecture and building[br]b. 18 May 1883 Berlin, Germanyd. 5 July 1969 Boston, USA[br]German co-founder of the modern movement of architecture.[br]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)).[br]Bibliography1984, Scope of Total Architecture, Allen \& Unwin.Further ReadingN.Pevsner, 1936, Pioneers of the Modern Movement: From William Morris to Walter Gropius, Penguin.C.Jenck, 1973, Modern Movements in Architecture, Penguin.H.Probst and C.Shädlich, 1988, Walter Gropius, Berlin: Ernst \& Son.DY -
14 Nervi, Pier Luigi
[br]b. 21 June 1891 Sondrio, Italyd. 9 January 1979 (?), Italy[br]Italian engineer who played a vital role in the use and adaptation of reinforced concrete as a structural material from the 1930s to the 1970s.[br]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.[br]Principal Honours and DistinctionsRIBA Royal Gold Medal 1960. Royal Institute of Structural Engineers Gold Medal 1968. Honorary Degree Edinburgh University, Warsaw University, Munich University, London University, Harvard University. Member International Institute of Arts and Letters, Zurich; American Academy of Arts and Sciences; Royal Academy of Fine Arts, Stockholm.Bibliography1956, Structures, New York: Dodge.1945, Scienza o Arte del Costruire?, Rome: Bussola.Further ReadingP.Desideri et al., 1979, Pier Luigi Nervi, Bologna: Zanichelli.A.L.Huxtable, 1960, Masters of World Architecture; Pier Luigi Nervi, New York: Braziller.DY
См. также в других словарях:
Breuer — ist ein Familienname. Herkunft und Bedeutung Der Name gehört zu dem Bereich der Berufsnamen und bezeichnet den Brauer und Mälzer. Bekannte Namensträger Carolyn Breuer (* 1969), deutsche Sopran und Altsaxophonistin Christian Breuer… … Deutsch Wikipedia
BREUER (J.) — BREUER JOSEF (1842 1925) Médecin et physiologiste autrichien, qui travailla avec Freud sur la théorie des névroses. Breuer, avant d’entrer en rapport avec le fondateur de la psychanalyse, était déjà un savant établi, jouissant d’une excellente… … Encyclopédie Universelle
BREUER (M.) — BREUER MARCEL (1902 1981) Architecte et décorateur nord américain d’origine hongroise. Étudiant au Bauhaus (1920) aussitôt après sa fondation à Weimar, Breuer devient l’un des adjoints de Gropius qui lui confie la direction de la section… … Encyclopédie Universelle
Breuer — Breuer, 1) Hans, Arzt, * Gröbers, bei Halle (Saale) 30. 4. 1883, ✝ (gefallen) vor Verdun 20. 4. 1918; einer der Führer der Jugendbewegung; gab den Zupfgeigenhansl (1909) heraus. 2) Josef, österreichischer Internist, * Wien 15. 1. 1842, ✝… … Universal-Lexikon
Breuer — (Joseph) (1842 1925) psychiatre autrichien, auteur, avec Freud d études sur l hystérie (1895). Breuer (Marcel) (1902 1981) architecte américain d origine hongroise; enseigna au Bauhaus … Encyclopédie Universelle
Breuer — Breuer, Friedrich Ludwig, geb. 1786 in Dresden, wurde 1808 Legationssecretär in München, 1813 Legationsrath im Departement der auswärtigen Angelegenheiten u. 1815–17 Geschäftsträger der sächsischen Gesandtschaft am preußischen Hofe; er wurde 1817 … Pierer's Universal-Lexikon
Breuer — Breuer, Peter, Bildhauer, geb. 18. Mai 1856 in Köln, erlernte dort von 1871–74 die Stein und Holzbildhauerei und besuchte dann bis 1878 die Kunstakademie in München, wo er sich besonders unter Prof. Knabl ausbildete. Zur Fortsetzung seiner… … Meyers Großes Konversations-Lexikon
Breuer — Breuer, Peter, Bildhauer, geb. 18. Mai 1856 in Köln, seit 1892 Lehrer an der Berliner Kunstakademie, 1905 Prof.; Marmorgruppe des Kurfürsten Joh. Sigismund für die Berliner Siegesallee (1901), Reiterstandbild Kaiser Wilhelms I. (Halle, 1901),… … Kleines Konversations-Lexikon
Breuer — Breuer, Marcel … Enciclopedia Universal
Breuer — (izg. bròjer), Marcel (1902 1981) DEFINICIJA mađarski moderni arhitekt i dizajner, od 1933. u SAD u; autor prvog serijski izrađivanog namještaja od savijenih čeličnih cijevi; klasik modernog dizajna namještaja 20. st. (stolica Wassily) … Hrvatski jezični portal
Breuer — [broi′ər] Marcel (Lajos) 1902 81; U.S. architect & designer, born in Hungary … English World dictionary