b+de+barcelona

SUBJECT AREA: Architecture and building

[br]

[br]

[br]

Mies van der Rohe was the son of a stonemason and his early constructional training came from his father. As a young man he gained experience of the modern school from study of the architecture of the earlier leaders, notably Peter Behrens, Hendrik Berlage and Frank Lloyd Wright. He commenced architectural practice in 1913 and soon after the First World War was establishing his own version of modern architecture. His building materials were always of the highest quality, of marble, stone, glass and, especially, steel. He stripped his designs of all extraneous decoration: more than any of his contemporaries he followed the theme of elegance, functionalism and an ascetic concentration on essentials. He believed that architectural design should not look backwards but should reflect the contemporary achievement of advanced technology in both its construction and the materials used, and he began early in his career to act upon these beliefs. Typical was his early concrete and glass office building of 1922, after which, more importantly, came his designs for the German Pavilion at the Barcelona Exposition of 1929. These designs included his famous Barcelona chair, made from chrome steel and leather in a geometrical design, one which has survived as a classic and is still in production. Another milestone was his Tugendhat House in Brno (1930), a long, low, rectilinear structure in glass and steel that set a pattern for many later buildings of this type. In 1930 Mies followed his colleagues as third Director of the Bauhaus, but due to the rise of National Socialism in Germany it was closed in 1933. He finally left Germany for the USA in 1937, and the following year he took up his post as Director of Architecture in Chicago at what is now known as the Illinois Institute of Technology and where he remained for twenty years. In America Mies van der Rohe continued to develop his work upon his original thesis. His buildings are always recognizable for their elegance, fine proportions, high-quality materials and clean, geometrical forms; nearly all are of glass and steel in rectangular shapes. The structure and design evolved according to the individual needs of each commission, and there were three fundamental types of design. One type was the single or grouped high-rise tower, built for apartments for the wealthy, as in his Lake Shore Drive Apartments in Chicago (1948–51), or for city-centre offices, as in his Seagram Building in New York (1954–8, with Philip Johnson) or his Chicago Federal Centre (1964). Another form was the long, low rectangle based upon the earlier Tugendhat House and seen again in the New National Gallery in Berlin (1965–8). Third, there were the grouped schemes when the commission called for buildings of varied purpose on a single, large site. Here Mies van der Rohe achieved a variety and interest in the different shapes and heights of buildings set out in spatial harmony of landscape. Some examples of this type of scheme were housing estates (Lafayette Park Housing Development in Detroit, 1955–6), while others were for educational, commercial or shopping requirements, as at the Toronto Dominion Centre (1963–9).

[br]

1) марк., упр. фирменный стиль (набор визуальных, словесных и т. п. констант, обеспечивающий стилистическое единство товаров, услуг и всей исходящей от фирмы информации; иногда применяется по отношению к проектам)

2) марк., упр. = trademark

3) марк., упр. образ [стиль, имидж\] компании

а) (ценности и принципы поведения компании, декларируемые в рекламных материалах)

б) ( образ компании в глазах общественности)

* * *

сокр. EMP межд. эк. Европейско-Средиземноморское [Евро-Средиземноморское\] партнерство (соглашение между странами Европейского Союза и средиземноморскими странами об установлении партнерских отношений в области поддержания мира и стабильности в регионе, социального развития и культурного сотрудничества, а также о формировании зоны свободной торговли между странами-участницами; средиземноморские страны, изначально присоединившиеся к партнерству: Марокко, Алжир, Тунис, Египет, Израиль, Иордания, Палестинская Автономия, Ливан, Сирия, Турция, а также Кипр и Мальта (с 2004 г. Кипр и Мальта входят в состав ЕС); впоследствии желание присоединиться к партнерству выразила Ливия (по состоянию на 2007 г. Ливия имела статус наблюдателя); соглашение о партнерстве было достигнуто на конференции, проводившейся в 1995 г. в Барселоне, поэтому данный процесс развития партнерских отношений часто называют "Барселонский процесс")

1) Медицина: Biologics Licence Application, Заявка на лицензирование биопрепарата

2) Военный термин: bracket and linkage assembly

3) Техника: base-loaded antenna

4) Шутливое выражение: Buffy Loves Angel

5) Энергетика: Bilateral Agreement, двустороннее соглашение

6) Макаров: bond length alternation

7) Аэропорты: Barcelona, Venezuela

второстепенный статус

prep. (abbrs v, vs) эсрэг. Milan v Barcelona Милан, Барселона багууд тоглоно.

Antonio Gaudi (1852-1926), bekende en invloedrijke Spaanse bouwkundige (werkte alleen maar in de stad Barcelona)

n. Latin (pl. loci)

1.locus of f ml. центар на; жариште на; точно/нај важно место на: Barcelona is the locus of Spanish industry Барцелона е центар на шпанската индустрија

2. geom. геометрискаточка

3. locus in quo место на настан

berömd spansk arkitekt (1852-1926), arbetade exklusivt I Barcelona

s porta d'entrada

Turisme. Hoteleria

Def. del Termcat: Punt, generalment un port, un aeroport o una ciutat, a partir del qual se sol accedir a una regió o un país. Nota: Per exemple, en determinats contextos Nova York és considerada una porta d'entrada als Estats Units d'Amèrica; Bombai, una porta d'entrada a l'Índia, i Barcelona, una porta d'entrada a Catalunya.

s Arquitecte català reconegut arreu del món. Antoni Gaudí (1852-1926) és un dels màxims exponents de l'arquitectura moderna. Va nèixer al sud de Catalunya, fill d'una família d'artesans.Va estudiar i exercir gran part de la seva trajectòria professional a Barcelona, coincidint amb una època de gran activitat comercial i industrial, i sobretot en un moment de gran identificació amb la cultura catalana. Les seves obres no tenen únicament interès en el camp arquitectònic, sinó en les arts plàstiques, pictòriques, i escultòriques, en la decoració, així com en el mobiliari i disseny, com ho han fet les grans figures de l'art al llarg del temps.

Antoni Gaudí

Les seves obres més importants, quasi totes inacabades per la seva idea de la perfecció, són:

El temple Expiatori de la Sagrada Família (des de 1883 fins la seva mort)

La Casa Vicens (1883-1888)

El Capricho de Comillas (1883-1885)

La finca Güell (1884-1887)

El Palau Güell (1886-1889)

El Col.legi de les Teresianes (1888-1889)

El Palau Episcopal d'Astorga (1889-1893)

La Casa Botines a Lleó (1892)

La Casa Calvet (1898-1900)

La Cripta de la Colònia Güell

El Park Güell (1900-1914)

La Casa del Bellesguard (1900-1916)

Restauració de la Catedral de Palma de Mallorca (1903-1914)

La Casa Batlló (1904-1906) La Casa Milà (1906-1910)

El temple de la Sagrada Família