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1 architectural part of design
часть проекта архитектурная
Раздел строительной части проекта, содержащий архитектурное решение
[Терминологический словарь по строительству на 12 языках (ВНИИИС Госстроя СССР)]Тематики
- проектирование, документация
EN
DE
FR
- partie du projet «architecture»
Англо-русский словарь нормативно-технической терминологии > architectural part of design
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2 architectural part of design
Программирование: архитектурная часть проектаУниверсальный англо-русский словарь > architectural part of design
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3 architectural part of design
Англо-русский строительный словарь > architectural part of design
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4 part
1) часть, доля, компонент, элемент2) часть, деталь ( механизма)4) разделять, делить ( на части)•part in bending — элемент, работающий на изгиб
part in compression — элемент, работающий на сжатие, сжатый элемент
- parts of rope - parts of structure - accessory part - architectural part of design - basic part - building part - closing parts - complex part - constructional part of design - damaged part - electric engineering part of design - electronic part - embedded parts - fabricated parts - fashion parts - fastening part - finished part - friction part - integral part - irreparable part - load-bearing part - location part - make-up part - male part - mechanical and process engineering part of design - mortar part of the mix - odd parts - odd-shaped part - profiled part - remanufactured part - removable parts - repair parts - rubbing part - sampling part - sanitary engineering part of design - sealing part - simple part - spare parts - stamped part - standard part - standardized machine parts - striking part of hammer - structural part of design - supporting part - wearing partpart in tension — элемент, работающий на растяжении, растянутый элемент
* * *1. часть, доля2. разделять, отделять3. компонент, элемент; деталь; узел- parts of construction works
- parts of rope
- parts of structure
- accessory part
- building part
- closing parts
- constituent parts
- defective parts
- dividing parts
- driving parts
- embedded parts
- enclosing parts
- fixed part of the crane
- interchangeable parts
- live derricking part
- machine parts
- mortar part of the mix
- repair parts
- spare parts
- structural parts
- subsurface parts of building
- trimming parts -
5 Sant'Elia, Antonio
SUBJECT AREA: Architecture and building[br]b. 30 April 1880 Como, Italyd. 10 October 1916 Monfalcone, Italy[br]Italian architectural designer and town planner.[br]Sant'Elia studied in Milan and in Bologna. In 1912 he began work in Milan, where he became part of the futurist movement in architecture. In the short time before the outbreak of the First World War, Sant'Elia began to create his designs for the city of the future; he was a talented draughtsman and made hundreds of imaginative drawings to illustrate his ideas.Fascinated by the possibilities of technology and by building in the USA, he was a visionary of future modern architecture. He planned cities for Italy, and in 1914 many of his drawings were shown at an exhibition of the Nuove Tendenze group in Milan. His Città Nuova was included; it envisaged electric power, skyscrapers, pedestrian precincts and traffic moving on overhead roadways at two and three different levels—a separation of pedestrian and wheeled traffic put forward by Leonardo da Vinci four centuries earlier in his sketchbooks. Sant'Elia was a socialist and developed his schemes as part of his suggestions for an ideal society.He was killed in action in 1916, but his drawings have survived and have influenced later work.[br]Further ReadingF.Tentori, 1955, Le Origini Liberty di Antonio Sant'Elia, Rome.——1955, L'Architettura Chronache e Storia, Rome.Rayner Banham, 1981, "Antonio Sant'Elia", Architectural Design.DY -
6 Paxton, Sir Joseph
[br]b. 3 August 1801 Milton Bryant, Bedfordshire, Englandd. 8 June 1865 Sydenham, London, England[br]English designer of the Crystal Palace, the first large-scale prefabricated ferrovitreous structure.[br]The son of a farmer, he had worked in gardens since boyhood and at the age of 21 was employed as Undergardener at the Horticultural Society Gardens in Chiswick, from where he went on to become Head Gardener for the Duke of Devonshire at Chatsworth. It was there that he developed his methods of glasshouse construction, culminating in the Great Conservatory of 1836–40, an immense structure some 277 ft (84.4 m) long, 123 ft (37.5 m) wide and 67 ft (20.4 m) high. Its framework was of iron and its roof of glass, with wood to contain the glass panels; it is now demolished. Paxton went on to landscape garden design, fountain and waterway engineering, the laying out of the model village of Edensor, and to play a part in railway and country house projects.The structure that made Paxton a household name was erected in Hyde Park, London, to house the Great Exhibition of 1851 and was aptly dubbed, by Punch, the Crystal Palace. The idea of holding an international exhibition for industry had been mooted in 1849 and was backed by Prince Albert and Henry Cole. The money for this was to be raised by public subscription and 245 designs were entered into a competition held in 1850; however, most of the concepts, received from many notable architects and engineers, were very costly and unsuitable, and none were accepted. That same year, Paxton published his scheme in the Illustrated London News and it was approved after it received over-whelming public support.Paxton's Crystal Palace, designed and erected in association with the engineers Fox and Henderson, was a prefabricated glasshouse of vast dimensions: it was 1,848 ft (563.3 m) long, 408 ft (124.4 m) wide and over 100 ft (30.5 m) high. It contained 3,300 iron columns, 2,150 girders. 24 miles (39 km) of guttering, 600,000 ft3 (17,000 m3) of timber and 900,000 ft2 (84,000 m) of sheet glass made by Chance Bros, of Birmingham. One of the chief reasons why it was accepted by the Royal Commission Committee was that it fulfilled the competition proviso that it should be capable of being erected quickly and subsequently dismantled and re-erected elsewhere. The Crystal Palace was to be erected at a cost of £79,800, much less than the other designs. Building began on 30 July 1850, with a labour force of some 2,000, and was completed on 31 March 1851. It was a landmark in construction at the time, for its size, speed of construction and its non-eclectic design, and, most of all, as the first great prefabricated building: parts were standardized and made in quantity, and were assembled on site. The exhibition was opened by Queen Victoria on 1 May 1851 and had received six million visitors when it closed on 11 October. The building was dismantled in 1852 and reassembled, with variations in design, at Sydenham in south London, where it remained until its spectacular conflagration in 1936.[br]Principal Honours and DistinctionsKnighted 1851. MP for Coventry 1854–65. Fellow Linnaean Society 1853; Horticultural Society 1826. Order of St Vladimir, Russia, 1844.Further ReadingP.Beaver, 1986, The Crystal Palace: A Portrait of Victorian Enterprise, Phillimore. George F.Chadwick, 1961, Works of Sir Joseph Paxton 1803–1865, Architectural Press.DY -
7 Wright, Frank Lloyd
SUBJECT AREA: Architecture and building[br]b. 8 June 1869 Richland Center, Wisconsin, USAd. 9 April 1959 Phoenix, Arizona, USA[br]American architect who, in an unparalleled career spanning almost seventy years, became the most important figure on the modern architectural scene both in his own country and far further afield.[br]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.[br]Principal Honours and DistinctionsRIBA Royal Gold Medal 1941.Bibliography1945, An Autobiography, Faber \& Faber.Further ReadingE.Kaufmann (ed.), 1957, Frank Lloyd Wright: an American Architect, New York: Horizon Press.H.Russell Hitchcock, 1973, In the Nature of Materials, New York: Da Capo.T.A.Heinz, 1982, Frank Lloyd Wright, New York: St Martin's.DY -
8 detail
ˈdi:teɪl
1. сущ.
1) подробность;
деталь, тонкость, частность to bring up details, to cite details ≈ подробно излагать to go/enter into details ≈ вдаваться в подробности to fill in details, to furnish( the) details ≈ вдаваться в подробности to destroy in detail ≈ уничтожать по частям - in detail war of detail detail drawing Syn: particular
2) детальность;
детализация to relieve from the drudgery of detail ≈ освободиться от занудной детальности Syn: minuteness
3) деталь, часть, элемент( целого) There are no architectural details of interest. ≈ Тут нет архитектурных деталей, представляющих интерес. Syn: part
4) воен. наряд;
расчет;
команда (тж. о группе полицейских т.п.) An extra detail of police was made. ≈ Был выделен дополнительный наряд полиции. Syn: detachment
2. гл.
1) детализировать;
подробно описывать, подробно излагать, вводить в подробности They have detailed their grievances. ≈ Они подробно изложили свои жалобы. Syn: specify
2) воен. выделять;
наряжать, назначать в наряд;
(тж. detail off) A small group of men were detailed off for burial duty. ≈ Небольшую группу людей отрядили на похороны. The officer detailed a small party off and put them to clearing the road. ≈ Офицер отрядил нескольких людей расчищать дорогу. Syn: assign
3) отделывать, снабжать мелкими деталями (украшениями и т.п.) lace for detailing petticoats ≈ кружева для отделки нижних юбок
4) жив. делать детальный чертеж деталь, подробность - in * подробно, детально, обстоятельно - in every *, in the fullest * во всех подробностях - minor *s мелкие /незначительные/ детали - war of * (военное) мелкие стычки - to give all the *s рассказать со всеми подробностями - to go /to enter/ into *s вдаваться в подробности - to go into the smallest *s вдаваться в мельчайшие подробности - to leave out * опускать подробности - to destroy in * (военное) уничтожать по частям - without boring with the *(s) не входя в подробности - I cannot give you any *s я не могу сообщить вам никаких подробностей;
более точных сведений у меня нет - let us have the exact *s давайте уточним мелкая подробность, частность - full of uninteresting *(s) перегруженный ненужными подробностями /частностями/ - care for * забота о мелочах - this is only /but/ a *, this is a mere * это частность, это не имеет принципиального значения деталь (здания или машины) ;
часть, элемент - * of design фрагмент, деталь детальный чертеж (тж. * drawing) (военное) наряд;
команда - general * общий наряд - a special * of private detectives специальная группа частных детективов (телевидение) детальность, четкость подробно рассказывать, входить или вдаваться в подробности;
детализировать - to * all the facts обстоятельно изложить все факты( военное) выделять, наряжать, назначать в наряд - to * smb. for guard duty назначить кого-л. в караул делать детальный чертеж account ~ подробные данные о банковском счете detail воен. выделять;
наряжать, назначать в наряд ~ pl детали (здания или машины) ;
части, элементы ~ деталь ~ воен. наряд;
команда ~ подробно рассказывать, входить в подробности ~ подробность;
деталь;
to go (или to enter) into details вдаваться в подробности;
in detail обстоятельно;
подробно ~ подробность ~ частность ~ часть ~ элемент ~ attr. детальный, подробный;
detail drawing детальный чертеж ~ attr. детальный, подробный;
detail drawing детальный чертеж ~ подробность;
деталь;
to go (или to enter) into details вдаваться в подробности;
in detail обстоятельно;
подробно ~ подробность;
деталь;
to go (или to enter) into details вдаваться в подробности;
in detail обстоятельно;
подробно nitty-gritty ~s мельчайшие подробности -
9 Villard de Honnecourt
[br]b. c. 1200 Honnecourt-sur-Escaut, near Cambrai, Franced. mid-13th century (?) France[br]French architect-engineer.[br]Villard was one of the thirteenth-century architect-engineers who were responsible for the design and construction of the great Gothic cathedrals and other churches of the time. Their responsibilities covered all aspects of the work, including (in the spirit of the Roman architect Vitruvius) the invention and construction of mechanical devices. In their time, these men were highly esteemed and richly rewarded, although few of the inscriptions paying tribute to their achievements have survived. Villard stands out among them because a substantial part of his sketchbook has survived, in the form of thirty-three parchment sheets of drawings and notes, now kept in the Bibliothèque Nationale in Paris. Villard's professional career lasted roughly from 1225 to 1250. As a boy, he went to work on the building of the Cistercian monastery at Vaucelles, not far from Honnecourt, and afterwards he was apprenticed to the masons' lodge at Cambrai Cathedral, where he began copying the drawings and layouts on the tracing-house floor. All his drawings are, therefore, of the plans, elevations and sections of cathedrals. These buildings have long since been destroyed, but his drawings, perhaps among his earliest, bear witness to their architecture. He travelled widely in France and recorded features of the great works at Reims, Laon and Chartres. These include the complex system of passageways built into the fabric of a great cathedral; Villard comments that one of their purposes was "to allow circulation in case of fire".Villard was invited to Hungary and reached there c. 1235. He may have been responsible for the edifice dedicated to St Elizabeth of Hungary, canonized in 1235, at Kassa (now Košice, Slovakia). Villard probably returned to France c. 1240, at least before the Tartar invasion of Hungary in 1241.His sketchbook, which dates to c. 1235, stands as a memorial to Villard's skill as a draughtsman, a student of perspective and a mechanical engineer. He took his sketchbook with him on his travels, and used ideas from it in his work abroad. It contains architectural designs, geometrical constructions for use in building, surveying exercises and drawings for various kinds of mechanical devices, for civil or military use. He was transmitting details from the highly developed French Gothic masons to the relatively underdeveloped eastern countries. The notebooks were annotated for the use of pupils and other master masons, and the notes on geometry were obviously intended for pupils. The prize examples are the pages in the book, clearly Villard's own work, related to mechanical devices. Whilst he, like many others of the period and after, played with designs for perpetual-motion machines, he concentrated on useful devices. These included the first Western representation of a perpetualmotion machine, which at least displays a concern to derive a source of energy: this was a water-powered sawmill, with automatic feed of the timber into the mill. This has been described as the first industrial automatic power-machine to involve two motions, for it not only converts the rotary motion of the water-wheel to the reciprocating motion of the saw, but incorporates a means of keeping the log pressed against the saw. His other designs included water-wheels, watermills, the Archimedean screw and other curious devices.[br]BibliographyOf several facsimile reprints with notes there are Album de Villard de Honnecourt, 1858, ed. J.B.Lassus, Paris (repr. 1968, Paris: Laget), and The Sketchbook of Villard de Honnecourt, 1959, ed. T.Bowie, Bloomington: Indiana University Press.Further ReadingJ.Gimpel, 1977, "Villard de Honnecourt: architect and engineer", The Medieval Machine, London: Victor Gollancz, ch. 6, pp. 114–46.——1988, The Medieval Machine, the Industrial Revolution of the Middle Ages, London.R.Pernord, J.Gimpel and R.Delatouche, 1986, Le Moyen age pour quoi fayre, Paris.KM / LRD
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