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1 leaf design
இலைக்காட்டுரு -
2 bamboo leaf design
மூங்கிலிலைக்காட்டுரு -
3 border-leaf design
இலக்கரைக்காட்டுரு -
4 Tri-Cleft Leaf Design
Design motif in the rugs of Turkey and Caucasia, but not in Persian. This is an old Armenian symbol.Dictionary of the English textile terms > Tri-Cleft Leaf Design
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5 design
design [dɪˈzaɪn]1. nouna. ( = pattern) motif mb. ( = plan drawn in detail) [of building, machine, car] plan m (of, for de ) ; [of dress, hat] modèle m (of, for de)• have you seen the designs for the new cathedral? avez-vous vu les plans de la nouvelle cathédrale ?c. ( = way in which sth is planned and made) [of clothes] style m ; [of car, machine, building, book] conception f ; ( = look) design m• the design of the car allows... la façon dont la voiture est conçue permet...d. ( = completed model) modèle m• the dress is an exclusive design by... cette robe est un modèle exclusif de...f. ( = intention) to have designs on sb/sth avoir des visées sur qn/qcha. ( = think out) [+ object, car, model, building] concevoirb. ( = draw on paper) dessinerc. ( = destine for particular purpose) room designed as a study pièce conçue comme cabinet de travail• to be designed for sb ( = aimed at particular person) s'adresser à qn• to be designed to do sth ( = be made for sth) être conçu pour faire qch ; ( = be aimed at sth) être destiné à faire qch3. compounds* * *[dɪ'zaɪn] 1.1) (idea, conception) conception f2) (planning, development) (of object, appliance) conception f; (of building, room) agencement m; ( of clothing) création f4) (model, completed object) modèle m5) ( art of designing) gen design m; ( fashion) stylisme m6) ( decorative pattern) motif m7) Art, University arts mpl appliqués2.to have designs on — avoir des vues fpl sur
transitive verb1) (conceive, plan out) concevoir2) ( intend)to be designed for something/to do — ( destined for) être destiné à quelque chose/à faire; ( made for) être conçu pour quelque chose/pour faire
3) ( draw plan for) [draughtsman] dessiner le patron de [garment]; [designer] créer [costume, garment]; dessiner [building, appliance] -
6 design
A n2 (planning, development) (of object, appliance) conception f ; (of building, room) agencement m ; ( of clothing) création f ;3 (drawing, plan) ( detailed) plan m (for de) ; ( sketch) croquis m (for de) ; ( for dress) croquis m ;4 (model, completed object) modèle m ; this car is a very modern design cette voiture est un modèle très moderne ; this season's new designs les nouveaux modèles de cette saison ; an exclusive design by Nino Fashn une création originale de Nino ;5 ( art of designing) gen design m ; ( fashion) stylisme m ; to study design étudier le design ; ⇒ interior design etc ;7 ( intention) dessein m (to do de faire) ; by design à dessein ; to have designs on avoir des vues fpl or des visées fpl sur [job, title, car] ; to have (evil) designs on sb/sth avoir des vues (mal intentionnées) sur qn/qch.B vtr1 (conceive, plan out) concevoir [object, appliance, building, garment, experiment, course] ; well/badly designed bien/mal conçu ;2 ( intend) to be designed for sth/to do ( destined for) être destiné à qch/à faire ; ( made for) être conçu pour qch/pour faire ; a course designed for foreign students un cours conçu pour or destiné aux étudiants étrangers ; a track designed for the use of cyclists une piste destinée aux cyclistes ; a bowl designed to hold four litres/for the microwave un bol prévu or fait pour contenir quatre litres/pour le micro-onde ; to be designed as ( for particular purpose) être prévu or conçu comme ; ( in the style of) représenter, être conçu comme ;3 ( draw plan for) [draughtsman] dessiner le patron de [garment] ; [designer, stylist] créer [costume, garment, wardrobe] ; dessiner or faire les plans de [building, bridge, object, appliance]. -
7 design
I [dɪ'zaɪn]1) (idea, conception) progettazione f., concezione f.of faulty design — mal progettato o concepito
2) (planning, development) (of object, appliance) design m., progettazione f.; (of building, room) progetto m.; (of clothing) creazione f.3) (drawing, plan) (detailed) disegno m., piano m. ( for di); (sketch) schizzo m., abbozzo m. ( for di)4) (model)6) (decorative pattern) motivo m.7) (intention) disegno m., intenzione f. ( to do di fare)II [dɪ'zaɪn]to have designs on — avere delle mire su [ job]; ambire ad avere [ car]
1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]2) (intend)to be designed for sth., to do — (destined for) essere adatto a qcs., a fare; (made for) essere creato o concepito per qcs., per fare
3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment]* * *1. verb(to invent and prepare a plan of (something) before it is built or made: A famous architect designed this building.) progettare2. noun1) (a sketch or plan produced before something is made: a design for a dress.) disegno2) (style; the way in which something has been made or put together: It is very modern in design; I don't like the design of that building.) design, progettazione3) (a pattern etc: The curtains have a flower design on them.) disegno4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) proposito•- designer- designing* * *I [dɪ'zaɪn]1) (idea, conception) progettazione f., concezione f.of faulty design — mal progettato o concepito
2) (planning, development) (of object, appliance) design m., progettazione f.; (of building, room) progetto m.; (of clothing) creazione f.3) (drawing, plan) (detailed) disegno m., piano m. ( for di); (sketch) schizzo m., abbozzo m. ( for di)4) (model)6) (decorative pattern) motivo m.7) (intention) disegno m., intenzione f. ( to do di fare)II [dɪ'zaɪn]to have designs on — avere delle mire su [ job]; ambire ad avere [ car]
1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]2) (intend)to be designed for sth., to do — (destined for) essere adatto a qcs., a fare; (made for) essere creato o concepito per qcs., per fare
3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment] -
8 Eastern Rugs And Carpet Design
The motifs used by the hand-loom weavers in Persia and other Eastern countries are known under the following terms: - The Herati, Mina Khani, Pear or cone, Rosettet Eight-pointed star. Cloud band, Tri, Clef, leaf, Latchhook, Comb, Octagon, Elephant-foot, Swastika, Henna flower, and Palmette (see Rugs)Dictionary of the English textile terms > Eastern Rugs And Carpet Design
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9 bamboo leaf-creeper design
மூங்கிலிலைக்கொடிக்காட்டுரு -
10 bamboo leaf-flower design
மூங்கிலிலைப்பூக்காட்டுரு -
11 Khorassan Rugs
Medium and large size Persian rugs made of the Khorassan wool. The close and long fine wool pile is used in Senna knot. The pile is clipped to give an uneven surface. Magenta and blue colours predominate. Designs are usually composed of fish or palm effects. The palm leaf design is usually a small leaf in a larger one. Borders are trailing palm leaves. The rugs are of good quality. There are two picks between each row of tufts, and at intervals three or five picks. -
12 Palmat
PALMAT, PALMAT SIDEA fabric mentioned exclusively in mediaeval German sources and believed to have been a silk fabric with palm leaf design. (" Side " from the German " Seide " meaning silk) -
13 Palmat Side
PALMAT, PALMAT SIDEA fabric mentioned exclusively in mediaeval German sources and believed to have been a silk fabric with palm leaf design. (" Side " from the German " Seide " meaning silk) -
14 starry
1 ( with stars) [night, sky] étoilé ;2 ( shining) [eyes] brillant ;3 ( in shape of star) [flower, leaf, design] en forme d'étoile ;4 [cast, occasion] rassemblant des stars. -
15 Damask
A cotton cloth woven with jacquard designs and used for table covers, napkins, curtains, upholstery cloth, etc. They can be reversible or one-sided only. Designs may be floral or geometrical. Yams 8's to 40's warp and weft. The ground and figure are bound by uniform weaves, generally twill or satin. The figure is developed by interchanging the warp and weft and the pattern so made up that the reflection of light on the threads brings out the effect. Linen and silk damasks only differ in material, as cotton damasks are made in very fine yarns. ———————— A fabric of single structure formed by two satin weaves with figure developed in warp and ground in weft satin weaves resulting in a design that shows very clearly as a warp figure on a weft ground. The figure can be made more prominent by using coloured yam. For table damasks a cotton warp with linen weft is often used. Damasks are made in numerous qualities, but all are figured in the five- or eight-shaft satin weaves. As early as the reign of Henry VIII a damask was a rich figured satin or linen and a damask was known in England as early as the 13th century. The name is derived from Damascus and is presumed to refer to the design and not the material. The finest linen damask is woven about 126 ends and 188 picks per inch from superior flax yarns. The finished sizes vary up to 90-in. wide, 6 yards long, and as a rule damask napkins and table tops can be obtained to match. Standard cloths of single damask are made: - Five-end satin, 60-ends and 56 picks per inch, 50's T., 35's lea W., boiled; 8-end satin, 80 ends and 76 picks per inch, 50's T., 60's lea W., boiled (see Double Damask) ———————— Originally an all-silk fabric with large designs developed in many colours. It was a heavy cloth with satin ground and weft figure. Imitations are now made with cotton warp and cotton or rayon weft. Used for dresses, and when very heavy for curtains, furnishings, dancing shoes, etc. The brocade effects are developed in colour or fancy weaves. Damasse Arabesque has arabesque designs. Damasse Brocat has gold and silver weft for figuring. Damasse Broche has flowered designs. Damasse Cachenir has palm leaf designs. Damasse Chine has printed silk warps. Damasse Egyptien has Egyptian designs. Damasse Jardinier is an expensive damask made with silk warp and fine mercerised cotton weft. The design is of detached flowers in colours. Many coloured wefts are used. -
16 machine
1) машина2) станок || подвергать механической обработке3) установка; устройство; агрегат4) механизмАнгло-русский словарь по полиграфии и издательскому делу > machine
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17 paper
1) бумага2) газета; журнал3) лист бумаги4) документ5) бумажные деньги6) пакет7) статья; научный доклад8) обои9) папье-маше10) завёртывать в бумагу11) подклеивать форзацАнгло-русский словарь по полиграфии и издательскому делу > paper
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18 floral
adjectivegeblümt [Kleid, Stoff, Tapete]; Blumen[gesteck, -arrangement, -muster]* * *['flo:rəl](made of, or having a pattern of, flowers: floral decorations; a floral dress.) Blumen-...* * *flo·ral[ˈflɔ:rəl]\floral arrangement Blumenarrangement nt, Blumengesteck nt\floral display Blumenschau f\floral tribute Blumengruß m\floral wallpaper Blumentapete f3. (like flowers) scent blumig* * *['flOːrəl]adj1) fabric, print, wallpaper geblümt; fragrance, scent blumig2) (= made of flowers) Blumen-floral arrangement/display — Blumenarrangement nt/-gesteck nt
* * *1. Blumen…, Blüten…:2. mit Blumenmuster, geblümt* * *adjectivegeblümt [Kleid, Stoff, Tapete]; Blumen[gesteck, -arrangement, -muster] -
19 cover
1. обложка; переплёт; переплётная крышка; крыть, покрывать обложкой2. сторонка3. конверт4. картонная папка, коробка5. покрышка; обёртка6. футляр; кожух; чехол7. покрытие; оболочка; покрыватьback cover — задняя сторонка обложки, задняя сторонка
8. переплётная крышка9. книжная обложка10. сторонка переплёта книги11. картонная сторонкаbookmatch cover production machine — машина для изготовления картонного пакетика для книжечки спичек
12. цельнокартонная переплётная крышкаdesign cover — макет переплётной крышки, макет переплёта
expandable cover — съёмный переплёт, допускающий включение новых листов
gold leaf decorated cover — крышка, украшенная золотым тиснением
hinge cover — составная переплётная крышка, сторонки которой приклеены к корешку с помощью стержня
13. обложка из тиражной бумагиcover royal — формат писчей и печатной бумаги 52?64,7 см
14. цельнокартонная обложка книги, изготовленной бесшвейным скреплением15. суперобложка16. неплотно прикреплённые листы обложкиmodel cover — макет переплётной крышки; макет переплёта
overhang cover — переплётная крышка с кантами; обложка с кантами
plain cover — «немая» обложка, обложка без титульных данных
cover man — «человек с обложки»
17. твёрдый переплёт18. жёсткая обложкаsafety cover — предохранительное ограждение, кожух
19. полужёсткий переплёт20. полужёсткая обложка -
20 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
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