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1 architectural style
- architectural style
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Англо-русский строительный словарь. — М.: Русский Язык. С.Н.Корчемкина, С.К.Кашкина, С.В.Курбатова. 1995.
Англо-русский словарь строительных терминов > architectural style
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2 architectural style
English-German dictionary of Architecture and Construction > architectural style
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3 architectural style
Строительство: архитектурный стиль -
4 architectural style
< build> ■ Baustil m -
5 architectural style
n.Baustil -e m. -
6 architectural style
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7 architectural style
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8 Manueline architectural style
An innovative, unique architectural and art style named after King Manuel I (r. 1495-1521). In the middle of the 19th century, Portuguese romantic writers, including the great Almeida Garrett, began to describe the unusual architectural style developed during Manuel's reign as "Manueline." In recent years, some scholars have termed the style "Atlantic baroque" instead, because it combines themes of maritime life and a grotesque, even wild look. The style continued some years after Manuel's death in 1521. Both civil and religious architecture were affected by the style. It appears in private houses, as well as in historical monuments such as Jerónimos Monastery and the famous "Tomar Window" of the Order of Christ Chapel in Tomar. Typical of Manueline decorations are sea life and maritime themes of coral, ropes, buoys, cork, ship rigging, seaweeds and other sea plant life; tropical fruits and vegetables; and figures of mariners, all rendered in stone.Historical dictionary of Portugal > Manueline architectural style
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9 simple architectural style
Архитектура: простой (строгий, без излишеств) стиль в архитектуреУниверсальный англо-русский словарь > simple architectural style
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10 simple architectural style
простой строгий, без излишеств стиль в архитектуреEnglish-Russian architecture dictionary > simple architectural style
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11 style
- style
- nстиль
- architectural style
- Empire style
- perpendicular style
Англо-русский строительный словарь. — М.: Русский Язык. С.Н.Корчемкина, С.К.Кашкина, С.В.Курбатова. 1995.
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12 style
1) стиль; направление (напр. в архитектуре)•- baroque style - body style - decadent style - design style - perpendicular style - pointed style - pseudo-classic style - rococo style - Roman style - structural style* * *стиль- architectural style
- Empire style
- perpendicular style -
13 architectural
architectural [‚α:kɪˈtekt∫ərəl]* * *[ˌɑːkɪ'tektʃərəl]adjective [design, style] architectural; [student] en architecture; [studies] d'architecture -
14 architectural
architectural adj [design, style] architectural ; [student] en architecture ; [studies] d'architecture. -
15 architectural
[ˌɑːkɪ'tektʃərəl]aggettivo [design, style] architettonico; [student, studies] di architettura* * *adjective architettonico* * *architectural /ɑ:kɪˈtɛktʃərəl/a.● architectural concrete, cemento per ornamentazione □ architectural engineering, ingegneria edile.* * *[ˌɑːkɪ'tektʃərəl]aggettivo [design, style] architettonico; [student, studies] di architettura -
16 Architecture
Portugal maintains an important architectural legacy from a long history of contact with invaders and other visitors who brought architectural ideas from Western Europe and North Africa. Among the migrants were Phoenicians, Greeks, Romans, Germanic peoples, and Arabs, as well as visitors from France, Italy, Holland, Germany, Spain, and Great Britain.Architecture in Portugal has been influenced by the broad Western architectural styles, including Romanesque, Gothic, Renaissance, Baroque, and Neoclassicism. Two Portuguese architectural styles are unique, the Manueline architectural style and the Pombaline, named after the dictator the Marquis of Pombal. Pre-Roman-esque styles include early Megalithic structures, Roman styles, and Moorish or Arab styles, when Portugal was occupied by Muslims (711-1290). This period of Moorish castles and mosques, most but not all of which were razed, was followed by the Romanesque period (1100-ca. 1230), when many churches, monasteries, castles, and palaces were constructed.There followed the Gothic period (ca. 1200-1450), which was dominated by buildings for the Church, the monarchy, and the nobility. Related to Portugal's overseas empire, the kingdom's new role briefly as a world power, especially on the seas, and to the reign of King Manuel I, is the Manueline architectural style, described by scholars as "Atlantic Baroque" (ca. 1490-1520), a bold Portuguese version of late Gothic style. This was followed by styles of Renaissance and Mannerism (ca. 1520-1650), including the "Plain style," which was influenced by Castilian styles under King Felipe I.Following the period 1580 to 1640, when Spain ruled Portugal, there was restoration architecture (1640-1717) and then the Baroque style (1717-55). The largest and most unusual building from this era, the Mafra Palace, is said to be even larger than Spain's El Escorial. Following the Lisbon Earthquake of 1755, was Pombaline style (1755-1860), a blend of late Baroque and Neoclassicism, which began when Pombal's government oversaw the reconstruction of large sections of central Lisbon. Modern architecture followed this period, a style influenced in the 20th century by one of Europe's best architecture schools, the so-called Escola do Porto (School of Oporto). This school is the Faculdade de Arquitectura (School of Architecture), and alumni include celebrated architects Fernando Tavora; Álvaro Siza Vieira, designer of the Portuguese pavilion at Expo '98, Lisbon; and Eduardo Souto de Moura. Despite tragic losses of historic structures due to urban development, since the 1930s many Portuguese governments have sought to preserve and restore the remaining historic legacy of architecture. -
17 Soane, Sir John
SUBJECT AREA: Architecture and building[br]b. 20 September 1753 Whitchurch, Englandd. 20 January 1837 London, England[br]English architect whose highly personalized architectural style foreshadowed the modern architecture of a century later.[br]Between 1777 and 1780 Soane studied in Italy on a Travelling Scholarship, working in Rome but also making extensive excursions further south to Paestum and Sicily to study the early and more severely simple Greek temples there.His architectural career began in earnest with his appointment as Surveyor to the Bank of England in 1788. He held this post until 1833 and during this time developed his highly individual style, which was based upon a wide range of classical sources extending from early Greek to Byzantine themes. His own work became progressively more linear and austere, his domes and arches shallower and more segmental. During the 1790s and early 1800s Soane redesigned several halls in the Bank, notably the Bank Stock Office, which in 1791 necessitated technological experimentation.The redesigning was required because of security problems which limited window openings to high-level positions and a need for fireproof construction because the site was so restricted. Soane solved the difficulties by introducing light through lunettes set high in the walls and through a Roman-style oculus in the centrally placed shallow dome. He utilized hollow terracotta pots as a lightweight material in the segmental vaulting.Sadly, the majority of Soane's work in the Bank interior was lost in the rebuilding during the 1930s, but Soane went on to develop his architectural style in his houses and churches as well as in a quantity of public buildings in Whitehall and Westminster.[br]Principal Honours and DistinctionsKnighted 1831. Fellow Society of Antiquaries 1795. RA 1802. Royal Academy Professor of Architecture 1806. FRS 1821.Further ReadingSir John Summerson, 1952, Sir John Soane, 1753–1837, Art and Technics. Dorothy Stroud, 1961, The Architecture of Sir John Soane, Studio.DY -
18 Sullivan, Louis Henry
SUBJECT AREA: Architecture and building[br]b. 3 September 1856 Boston, Massachusetts, USAd. 14 April 1924 Chicago, Illinois, USA[br]American architect whose work came to be known as the "Chicago School of Architecture" and who created a new style of architecture suited specifically to steel-frame, high-rise structures.[br]Sullivan, a Bostonian, studied at the Massachusetts Institute of Technology. Soon he joined his parents, who had moved to Chicago, and worked for a while in the office of William Le Baron Jenney, the pioneer of steel-frame construction. After spending some time studying at the Ecole des Beaux Arts in Paris, in 1875 Sullivan returned to Chicago, where he later met and worked for the Danish architect Dankmar Adler, who was practising there. In 1881 the two architects became partners, and during the succeeding fifteen years they produced their finest work and the buildings for which Sullivan is especially known.During the early 1880s in Chicago, load-bearing, metal-framework structures that made lofty skyscrapers possible had been developed (see Jenney and Holabird). Louis H.Sullivan initiated building design to stress and complement the metal structure rather than hide it. Moving onwards from H.H.Richardson's treatment of his Marshall Field Wholesale Store in Chicago, Sullivan took the concept several stages further. His first outstanding work, built with Adler in 1886–9, was the Auditorium Building in Chicago. The exterior, in particular, was derived largely from Richardson's Field Store, and the building—now restored—is of bold but simple design, massively built in granite and stone, its form stressing the structure beneath. The architects' reputation was established with this building.The firm of Sullivan \& Adler established itself during the early 1890s, when they built their most famous skyscrapers. Adler was largely responsible for the structure, the acoustics and function, while Sullivan was responsible for the architectural design, concerning himself particularly with the limitation and careful handling of ornament. In 1892 he published his ideas in Ornament in Architecture, where he preached restraint in its quality and disposition. He established himself as a master of design in the building itself, producing a rhythmic simplicity of form, closely related to the structural shape beneath. The two great examples of this successful approach were the Wainwright Building in St Louis, Missouri (1890–1) and the Guaranty Building in Buffalo, New York (1894–5). The Wainwright Building was a ten-storeyed structure built in stone and brick and decorated with terracotta. The vertical line was stressed throughout but especially at the corners, where pilasters were wider. These rose unbroken to an Art Nouveau type of decorative frieze and a deeply projecting cornice above. The thirteen-storeyed Guaranty Building is Sullivan's masterpiece, a simple, bold, finely proportioned and essentially modern structure. The pilaster verticals are even more boldly stressed and decoration is at a minimum. In the twentieth century the almost free-standing supporting pillars on the ground floor have come to be called pilotis. As late as the 1920s, particularly in New York, the architectural style and decoration of skyscrapers remained traditionally eclectic, based chiefly upon Gothic or classical forms; in view of this, Sullivan's Guaranty Building was far ahead of its time.[br]BibliographyArticle by Louis H.Sullivan. Address delivered to architectural students June 1899, published in Canadian Architecture Vol. 18(7):52–3.Further ReadingHugh Morrison, 1962, Louis Sullivan: Prophet of Modern Architecture.Willard Connely, 1961, Louis Sullivan as He Lived, New York: Horizon Press.DY -
19 decorated
1. a украшенный, убранный; декорированный2. a использующий украшения3. a награждённый знаками отличия или орденамиСинонимический ряд:1. adorned (adj.) adorned; bedecked; colored; coloured; embellished; festooned; garnished; ornamented; ornate; trimmed2. architectural style (adj.) architectural style; heavily mullioned; late Gothic; transitional Gothic3. bemedaled (adj.) bemedaled; beribboned4. adorned (verb) adorned; beautified; bedecked; decked; dressed; dressed up; embellished; garnished; ornamented; trimmed -
20 Belém, Tower of
Built during the country's early imperial age when Portugal was a world maritime power, the Tower of Belém (Torre do Belém) in Lisbon was constructed as a defense against maritime attack in the Tagus River. This historic stone tower, one of Portugal's most perfect Manueline architectural style monument-treasures, was begun in 1515 by order of King Manuel I. The first architect was the military architect Francisco Arruda, and the tower was built in the River Tagus.With changes in tides, time, and the shoreline since, the tower today rests close to the Belém shoreline. The tower was built to accommodate a garrison, a prison, and artillery to ward off pirates and other raiders coming from the Atlantic up the Tagus River. Eclectic in architectural style, the tower's styles include Roman-Gothic and Manu-eline, with touches of Venetian and Moroccan influence. Located not far from the massive Monastery of Jerónimos convent, the tower is square and is surrounded by a polygonal bulwark, as well as by walls facing the Tagus. Centuries after its use in defense had ceased, the tower in its restored state became a memorable symbol of Portugal's Age of Discoveries and expansion, as well as a much-photographed icon in tourist literature.
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