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1 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 -
2 Architecture and building
Biographical history of technology > Architecture and building
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3 Он мне мешает.
General subject: I want it out of the way. (Franco, Luigi and Co. wanted this guy out of the way. - Он им мешал.) -
4 secolo
m centuryti ho aspettato un secolo! I waited hours for you!* * *secolo s.m.1 century: a un secolo dalla sua morte, a century after his death; la fine, il principio del secolo, the end, the beginning of the century; quel poeta visse a cavallo tra la fine del secolo scorso e l'inizio del nostro secolo, that poet lived around the turn of the century; visse a cavallo tra il XVIII e il XIX secolo, he lived in the late 18th and early 19th century; fino al XV secolo, up to the 15th century; nel nostro secolo, in our century; per tre secoli, for three centuries // nel corso dei secoli, over the centuries // sembra un secolo che..., (fam.) it seems ages since... // sono secoli, è un secolo che non lo vedo, I have not seen him for ages; è un secolo che ti aspetto, I've been waiting for you for ages // non mi divertivo così da secoli, I haven't enjoyed myself so much for ages // l'avvenimento del secolo, the event of the century; il cancro è il male del ( nostro) secolo, cancer is the disease of our century; il male del secolo, (fig.) mal du siècle // andare col secolo, to be born at the beginning of the century2 ( tempo, epoca) age, epoch, time: il secolo in cui viviamo, the age (o the century) we live in; il grande secolo di Augusto in Roma, the great Augustan Age in Rome; il secolo di Luigi XIV, the age of Louis XIV; il secolo delle macchine, the machine age; le meraviglie del nostro secolo, the wonders of our age // il secolo d'oro delle arti, the Golden Age of Art // dal principio dei secoli, from time immemorial // fino alla fine dei secoli, to the end of time // nella notte dei secoli, in remote antiquity // per tutti i secoli dei secoli, world without end3 ( mondo, cose mondane) world; things mundane (pl.): ritirarsi dal secolo, to withdraw from the world (o worldly life) // Padre Pietro, al secolo John Brown, Father Peter, in the world John Brown; Totò, al secolo Antonio de Curtis, Totò, whose real name was Antonio de Curtis.* * *['sɛkolo]sostantivo maschile1) centurynel V secolo avanti, dopo Cristo — in the 5th century Before Christ, Anno Domini
del secolo — colloq. [affare, idea] of the century
2) fig.erano -i che non venivo qui — colloq. I hadn't been here for ages
3) (epoca)4) relig.fino alla fine dei -i — bibl. till the end of time
••padre Giuseppe, al secolo Mario Rossi — padre Giuseppe, in the world Mario Rossi
* * *secolo/'sεkolo/ ⇒ 19sostantivo m.1 century; nel V secolo avanti, dopo Cristo in the 5th century Before Christ, Anno Domini; l'arte del XVII secolo 17th-century art; nel secolo scorso in the last century; del secolo colloq. [affare, idea] of the century; vecchio di -i centuries-old2 fig. erano -i che non venivo qui colloq. I hadn't been here for ages; è un secolo che non vado al mare it's ages since I went to the seaside; da -i for ages o centuries3 (epoca) il secolo di Luigi XIV the age of Louis XIV; i -i futuri future ages; il secolo dei lumi the Age of the Enlightenment; i -i bui the Dark Ages; quest'opera rispecchia il gusto del secolo this work reflects the taste of its timeal secolo in the world; padre Giuseppe, al secolo Mario Rossi padre Giuseppe, in the world Mario Rossi. -
5 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 -
6 Volta, Alessandro Giuseppe Antonio Anastasio
SUBJECT AREA: Electricity[br]b. 18 February 1745 Como, Italyd. 5 March 1827 Como, Italy[br]Italian physicist, discoverer of a source of continuous electric current from a pile of dissimilar metals.[br]Volta had an early command of English, French and Latin, and also learned to read Dutch and Spanish. After completing studies at the Royal Seminary in Como he was involved in the study of physics, chemistry and electricity. He became a teacher of physics in his native town and in 1779 was appointed Professor of Physics at the University of Pavia, a post he held for forty years.With a growing international reputation and a wish to keep abreast of the latest developments, in 1777 he began the first of many travels abroad. A journey started in 1781 to Switzerland, Germany, Belgium, Holland, France and England lasted about one year. By 1791 he had been elected to membership of many learned societies, including those in Zurich, Berlin, Berne and Paris. Volta's invention of his pile resulted from a controversy with Luigi Galvani, Professor of Anatomy at the University of Bologna. Galvani discovered that the muscles of frogs' legs contracted when touched with two pieces of different metals and attributed this to a phenomenon of the animal tissue. Volta showed that the excitation was due to a chemical reaction resulting from the contact of the dissimilar metals when moistened. His pile comprised a column of zinc and silver discs, each pair separated by paper moistened with brine, and provided a source of continuous current from a simple and accessible source. The effectiveness of the pile decreased as the paper dried and Volta devised his crown of cups, which had a longer life. In this, pairs of dissimilar metals were placed in each of a number of cups partly filled with an electrolyte such as brine. Volta first announced the results of his experiments with dissimilar metals in 1800 in a letter to Sir Joseph Banks, President of the Royal Society. This letter, published in the Transactions of the Royal Society, has been regarded as one of the most important documents in the history of science. Large batteries were constructed in a number of laboratories soon after Volta's discoveries became known, leading immediately to a series of developments in electrochemistry and eventually in electromagnetism. Volta himself made little further contribution to science. In recognition of his achievement, at a meeting of the International Electrical Congress in Paris in 1881 it was agreed to name the unit of electrical pressure the "volt".[br]Principal Honours and DistinctionsFRS 1791. Royal Society Copley Medal 1794. Knight of the Iron Crown, Austria, 1806. Senator of the Realm of Lombardy 1809.Bibliography1800, Philosophical Transactions of the Royal Society 18:744–6 (Volta's report on his discovery).Further ReadingG.Polvani, 1942, Alessandro Volta, Pisa (the best account available).B.Dibner, 1964, Alessandro Volta and the Electric Battery, New York (a detailed account).C.C.Gillispie (ed.), 1976, Dictionary of Scientific Biography, Vol. XIV, New York, pp.66–82 (includes an extensive biography).F.Soresni, 1988, Alessandro Volta, Milan (includes illustrations of Volta's apparatus, with brief text).GWBiographical history of technology > Volta, Alessandro Giuseppe Antonio Anastasio
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7 вкусный до безобразия
Colloquial: wickedly good (Mmmm... The black coffee Luigi makes is bitter, decadently smooth and wickedly good.)Универсальный русско-английский словарь > вкусный до безобразия
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8 отрабатывать навыки
General subject: hone (one's) skills (Luigi has been honing his pizza skiils at the Edgewood location of Pizza Uno and is now opening his own pizza place on E.15th St.)Универсальный русско-английский словарь > отрабатывать навыки
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