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1 city architect
Англо-русский словарь строительных терминов > city architect
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2 city architect
Строительство: городской архитектор -
3 city architect
• kaupunginarkkitehti -
4 city architect
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5 architect
1. архитектор2. юридическое лицо или организация, профессионально подготовленные для выполнения комплекса архитектурно-строительных работarchitect in charge of the project — архитектор, осуществляющий надзор за строительством объекта
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6 architect
1. n архитектор, зодчий2. n творец, создатель3. v строить, планировать, конструироватьthe house was architected to harmonize with the landscape — дом был архитектурно привязан к ландшафту
Синонимический ряд:1. designer (noun) architectural engineer; builder; building consultant; designer; director of building; draftsman; master builder; planner of structures; structural engineer2. father (noun) author; creator; engineer; father; founder; generator; inventor; maker; mastermind; originator; parent; patriarch; planner; prime mover; sire -
7 architect
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8 civil architect
structural architect — архитектор — строитель
English-Russian big polytechnic dictionary > civil architect
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9 landscape architect
structural architect — архитектор — строитель
English-Russian big polytechnic dictionary > landscape architect
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10 Poelzig, Hans
SUBJECT AREA: Architecture and building[br]b. 1869 Berlin, Germanyd. June 1936 Berlin, Germany[br]German teacher and practising architect, the most notable individualistic exponent of the German Expressionist movement in the modern school.[br]In the last decade of the nineteenth century and in the first of the twentieth, Poelzig did not, like most of his colleagues in Germany and Austria, follow the Jugendstil theme or the eclectic or fundamentalist lines: he set a path to individualism. In 1898 he began a teaching career at the Breslau (now Wroclaw, Poland) Academy of Arts and Crafts, remaining there until 1916. He early introduced workshop practice into the curriculum, presaging Gropius's Bauhaus ideas by many years; the school's workshop produced much of the artisan needs for a number of his buildings. From Breslau Poelzig moved to Dresden, where he was appointed City Architect. It was there that he launched his Expressionist line: which was particularly evident in the town hall and concert hall in the city. The structure for which Poelzig is best known and with which his name will always be associated is the Großes Schauspielhaus in Berlin; he had returned to his native city after the First World War and this great theatre was his first commission there. Using modern materials, he created a fabulous interior to seat 5,000 spectators. It was in the form of a vast amphitheatre with projecting stage and with the curving area roofed by a cavernous, stalactited dome, the Arabic-style stalactites of which were utilized by Poelzig for acoustic purposes. In the 1920s Poelzig went on to design cinemas, a field for which Expressionism was especially suited; these included the Capitol Cinema in Berlin and the Deli in Breslau. For his later industrial commissions—for example, the administrative building for the chemical firm I.G.Far ben in Frankfurt—he had perforce to design in more traditional modern manner.Poelzig died in 1936, which spared him, unlike many of his contemporaries, the choice of emigrating or working for National Socialism.[br]Further ReadingDennis Sharp, 1966, Modern Architecture and Expressionism, Longmans.Theodor Heuss, 1966, Hans Poelzig: Lebensbild eines Baumeister, Tübingen, Germany: Wunderlich.DY -
11 Garnier, Tony
SUBJECT AREA: Architecture and building[br]b. 13 August 1869 Lyon, Franced. 19 January 1948 Bedoule, France[br]French architect and urban planner, a pioneer of the concept of segregation of pedestrian and wheeled traffic and of the use of concrete in building construction.[br]Garnier spent almost all his life in Lyon, apart from the years that he passed in Rome as a result of winning the Prix de Rome in 1889. While there, he evolved his concept of the cité industrielle, plans of which he exhibited and published early in the twentieth century. This was an idealized town, powered electrically, with its industrial areas separated from leisure ones. Garnier envisaged flat-roofed buildings supported on pilotis, with glass cladding, a steel structure, and extensive use of concrete. He proposed that each family should occupy its own house in a garden-city concept. In 1905 Garnier became city architect to Lyon, where he was able to carry out some of his ideas of the cité industrielle. He used concrete widely in such schemes as the municipal stadium, the Abattoirs de la Mouche and various housing schemes.[br]Principal Honours and DistinctionsConseil Supérieur de l'Orde des Architectes. Honorary Degree Princeton University, USA.Bibliography1932, Une Cité industrielle, Paris: Vincent.1920, Les Grands travaux de la ville de Lyon, Paris: Massin.Further ReadingC.Pawlowski, 1967, Tony Garnier et les débuts de l'urbanisme functionnel en France, Paris: Centre de la Recherche d'Urbanisme.M.Rovigalti, 1985, Tony Garnier: Architettura per la città industriale, Rome: Officini Edizioni.DY -
12 Jeanneret, Charles-Edouard (Le Corbusier)
SUBJECT AREA: Architecture and building[br]b. 6 October 1887 La Chaux-de-Fonds, Switzerlandd. 27 August 1965 Cap Martin, France[br]Swiss/French architect.[br]The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.One of Le Corbusier's late works, the Convent is a tour de force.[br]Principal Honours and DistinctionsHonorary Doctorate Zurich University 1933. Honorary Member RIBA 1937. Chevalier de la Légion d'honneur 1937. American Institute of Architects Gold Medal 1961. Honorary Degree University of Geneva 1964.BibliographyHis chief publications, all of which have been numerously reprinted and translated, are: 1923, Vers une architecture.1935, La Ville radieuse.1946, Propos d'urbanisme.1950, Le Modular.Further ReadingP.Blake, 1963, Le Corbusier: Architecture and Form, Penguin. R.Furneaux-Jordan, 1972, Le Corbusier, Dent.W.Boesiger, 1970, Le Corbusier, 8 vols, Thames and Hudson.——1987, Le Corbusier: Architect of the Century, Arts Council of Great Britain.DYBiographical history of technology > Jeanneret, Charles-Edouard (Le Corbusier)
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13 Mylne, Robert
[br]b. 1733 Edinburgh, Scotland d. 1811[br]Scottish engineer, architect and bridge-builder.[br]Mylne was the eldest son of Thomas Mylne, Surveyor to the City of Edinburgh. Little is known of his early education. In 1754, at the age of 21, he left Edinburgh by sea and journeyed to Rome, where he attended the Academy of St Luke. There he received the first prize for architecture. In 1759 he left Rome to travel back to England, where he arrived in time for the competition then going ahead for the design and building of a new bridge across the Thames at Blackfriars. Against 68 other competitors, Mylne won the competition; the work took some ten years to complete.In 1760 he was appointed Engineer and Architect to the City of London, and in 1767 Joint Engineer to the New River Company together with Henry Mill, who died within a few years to leave Mylne to become Chief Engineer in 1770. Thus for the next forty years he was in charge of all the works for the New River Company between Clerkenwell and Ware, the opposite ends of London's main water supply. By 1767 he had also been appointed to a number of other important posts, which included Surveyor to Canterbury Cathedral and St Paul's Cathedral. In addition to undertaking his responsibilities for these great public buildings, he designed many private houses and villas all over the country, including several buildings for the Duke of Argyll on the Inverary Castle estate.Mylne was also responsible for the design of a great number of bridges, waterworks and other civil engineering works throughout Britain. Called in to advise on the Norwich city waterworks, he fell out with Joseph Bramah in a somewhat spectacular dispute.For much of his life Mylne lived at the Water House at the New River Head at Islington, from which he could direct much of the work on that waterway that came under his supervision. He also had residences in New Bridge Street and, as Clerk of Works, at Greenwich Hospital. Towards the end of his life he built himself a small house at Amwell, a country retreat at the outer end of the New River. He kept a diary from 1762 to 1810 which includes only brief memoranda but which shows a remarkable diligence in travelling all over the country by stagecoach and by postchaise. He was a freemason, as were many of his family; he married Mary Home on 10 September 1770, with whom he had ten children, four of whom survived into adulthood.[br]Principal Honours and DistinctionsFellow of the Royal Society 1767.Further ReadingDictionary of National Biography, London.A.E.Richardson, 1955, Robert Mylne, 1733–1811, Engineer and Architect, London: Batsford. -
14 Anthemios of Tralles
SUBJECT AREA: Architecture and building[br]fl. sixth century AD Tralles, Lydia, Asia Minor[br]Greek architect, geometer, mathematician and physicist.[br]Tralles was a wealthy city in ancient Greece. Ruins of the city are situated on a plateau above the present-day Turkish city of Aydin, in Asia Minor, which is near to Ephesus. In 334 BC Tralles was used as a base by Alexander the Great and later it was occupied by the Romans. After the collapse of the western half of the Roman Empire in the fifth century AD Tralles remained a part of the Byzantine Empire until its destruction in 1282. Anthemios was one of the great sons of Tralles and was probably educated in Alexandria. He is especially famed as architect (with Isodorus of Miletos) of the great Church of Santa Sophia in Istanbul. This vast building, later a Turkish mosque and now a museum, was built for the Emperor Justinian between 532 and 537 AD. It was an early and, certainly for many centuries, the largest example of pendentive construction to support a dome. This form, using the spherical triangles of the pendentives, enabled a circular-based dome to be supported safely upon piers that stood on a square plan below. It gradually replaced the earlier squinch type of structure, though both forms of design stem from Middle Eastern origins. At Santa Sophia the dome rises to 180ft (55m) above floor level and has a diameter of over 100ft (30m). Together with Isodorus, Anthemios also worked upon the Church of the Holy Apostles in Istanbul.[br]Further ReadingG.L.Huxley, 1959, Anthemius of Tralles: A Study in Later Greek Geometry, Cambridge, Mass.: Harvard University Press.Procopius, 1913, De Aedificiis, On the Buildings Constructed by the Emperor Justinian, Leipzig.Richard Krautheimer, 1965, Early Christian and Byzantine Architcture, Penguin.DY -
15 Barnaby, Kenneth C.
SUBJECT AREA: Ports and shipping[br]b. c.1887 Englandd. 22 March 1968 England[br]English naval architect and technical author.[br]Kenneth Barnaby was an eminent naval architect, as were his father and grandfather before him: his grandfather was Sir Nathaniel Barnaby KGB, Director of Naval Construction, and his father was Sydney W.Barnaby, naval architect of John I. Thornycroft \& Co., Shipbuilders, Southampton. At one time all three were members of the Institution of Naval Architects, the first time that this had ever occurred with three members from one family.Kenneth Barnaby served his apprenticeship at the Thornycroft shipyard in Southampton and later graduated in engineering from the Central Technical College, South Kensington, London. He worked for some years at Le Havre and at John Brown's shipyard at Clydebank before rejoining his old firm in 1916 as Assistant to the Shipyard Manager. In 1919 he went to Rio de Janeiro as a chief ship draughtsman, and finally he returned to Thornycroft, in 1924 he succeeded his father as Naval Architect, and remained in that post until his retirement in 1955, having been appointed a director in 1950.Barnaby had a wide knowledge and understanding of ships and ship design and during the Second World War he was responsible for much of the development work for landing craft, as well as for many other specialist ships built at the Southampton yard. His experience as a deep-sea yachtsman assisted him. He wrote several important books; however, none can compare with the Centenary Volume of the Royal Institution of Naval Architects. In this work, which is used and read widely to this day by naval architects worldwide, he reviewed every paper presented and almost every verbal contribution made to the Transactions during its one hundred years.[br]Principal Honours and DistinctionsOBE 1945. Associate of the City and Guilds Institute. Royal Institution of Naval Architects Froude Gold Medal 1962. Honorary Vice-President, Royal Institution of Naval Architects 1960–8.Bibliographyc.1900, Marine Propellers, London. 1949, Basic Naval Architecture, London.1960, The Institution of Naval Architects 1860–1960, London.1964, 100 Years of Specialised Shipbuilding and Engineering, London. 1968, Some Ship Disasters and their Causes, London.FMW -
16 Telmo, José Ângelo Cottinelli
(1897-1948)Architect, artist, musician, photographer, illustrator, and filmmaker. Trained at the Escola de Belas-Artes, Lisbon, he produced the classic film A Canção de Lisboa (Song of Lisbon). Although best known for his extraordinary architectural creations, he was also a musician, dancer, and photographer, and it was Cottinelli Telmo who introduced the newspaper cartoon ( banda desenhada) to Portugal. A visionary creator and organizer, he pioneered the notion of the "garden-city" in Lisbon. While he was employed by the Portuguese railroads, he designed train stations and other structures, including several in Lisbon, Campolide, and Caçém.His most memorable contribution was work at the massive 1940 Exposition of the Portuguese World at Belém, a kind of world's fair that opened in the weeks before the fall of France in June 1940. The centerpiece of this exposition, in what is now the Praça do Império and fronting on the Monastery of Jerônimos, was the Pavilion of the Portuguese in the World. Named chief architect by Minister of Public Works Duarte Pacheco, Cottinelli Telmo gathered around him a stellar array of the country's finest architects and artists of their generation. Other major projects were buildings in Belém, the Sanctuary at Fátima, the Catholic shrine, and Coimbra's University City.Historical dictionary of Portugal > Telmo, José Ângelo Cottinelli
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17 Watson, George Lennox
SUBJECT AREA: Ports and shipping[br]b. 1851 Glasgow, Scotlandd. 12 November 1904 Glasgow, Scotland[br]Scottish designer of some of the world's largest sailing and powered yachts, principal technical adviser to the Royal National Lifeboat Institution.[br]Almost all of Watson's life was spent in or around the City of Glasgow; his formal education was at the city's High School and at the age of 16 he entered the yard and drawing offices of Robert Napier's Govan Shipyard. Three years later he crossed the River Clyde and started work in the design office of the Pointhouse Shipyard of A. \& J.Inglis, and there received the necessary grounding of a naval architect. Dr John Inglis, the Principal of the firm, encouraged Watson, ensured that he was involved in advanced design work and allowed him to build a yacht in a corner of the shipyard in his spare time.At the early age of 22 Watson set up as a naval architect with his own company, which is still in existence 120 years later. In 1875, assisted by two carpenters, Watson built the 5-ton yacht Vril to his own design. This vessel was the first with an integral heavy lead keel and its success ensured that design contracts flowed to him for new yachts for the Clyde and elsewhere. His enthusiasm and increasing skill were recognized and soon he was working on the ultimate: the America's Cup challengers Thistle, Valkyrie II, Valkyrie III and Shamrock II. The greatest accolade was the contract for the design of the J Class yacht Britannia, built by D. \& W.Henderson of Glasgow in 1893 for the Prince of Wales.The company of G.L.Watson became the world's leading designer of steam yachts, and it was usual for it to offer a full design service as well as supervise construction in any part of the world. Watson took a deep interest in the work of the Royal National Lifeboat Institution and was its technical consultant for many years. One of his designs, the Watson Lifeboat, was a stalwart in its fleet for many years. In public life he lectured, took an active part in the debates on yacht racing and was recognized as Britain's leading designer.[br]Bibliography1881, Progress in Yachting and Yacht-Building, Glasgow Naval and Marine Engineering Catalogue, London and Glasgow: Collins.1894, The Evolution of the Modern Racing Yacht, Badminton Library of Sports and Pastimes, Vol. 1, London: Longmans Green, pp. 54–109.Further ReadingJohn Irving, 1937, The King's Britannia. The Story of a Great Ship, London: Seeley Service.FMW -
18 Wren, Sir Christopher
SUBJECT AREA: Architecture and building[br]b. 20 October 1632 East Knoyle, Wiltshire, Englandd. 25 February 1723 London, England[br]English architect whose background in scientific research and achievement enhanced his handling of many near-intractable architectural problems.[br]Born into a High Church and Royalist family, the young Wren early showed outstanding intellectual ability and at Oxford in 1654 was described as "that miracle of a youth". Educated at Westminster School, he went up to Oxford, where he graduated at the age of 19 and obtained his master's degree two years later. From this time onwards his interests were in science, primarily astronomy but also physics, engineering and meteorology. While still at college he developed theories about and experimentally solved some fifty varied problems. At the age of 25 Wren was appointed to the Chair of Astronomy at Gresham College in London, but he soon returned to Oxford as Savilian Professor of Astronomy there. At the same time he became one of the founder members of the Society of Experimental Philosophy at Oxford, which was awarded its Royal Charter soon after the Restoration of 1660; Wren, together with such men as Isaac Newton, Robert Hooke, John Evelyn and Robert Boyle, then found himself a member of the Royal Society.Wren's architectural career began with the classical chapel that he built, at the request of his uncle, the Bishop of Ely, for Pembroke College, Cambridge (1663). From this time onwards, until he died at the age of 91, he was fully occupied with a wide and taxing variety of architectural problems which he faced in the execution of all the great building schemes of the day. His scientific background and inventive mind stood him in good stead in solving such difficulties with an often unusual approach and concept. Nowhere was this more apparent than in his rebuilding of fifty-one churches in the City of London after the Great Fire, in the construction of the new St Paul's Cathedral and in the grand layout of the Royal Hospital at Greenwich.The first instance of Wren's approach to constructional problems was in his building of the Sheldonian Theatre in Oxford (1664–9). He based his design upon that of the Roman Theatre of Marcellus (13–11 BC), which he had studied from drawings in Serlio's book of architecture. Wren's reputation as an architect was greatly enhanced by his solution to the roofing problem here. The original theatre in Rome, like all Roman-theatres, was a circular building open to the sky; this would be unsuitable in the climate of Oxford and Wren wished to cover the English counterpart without using supporting columns, which would have obscured the view of the stage. He solved this difficulty mathematically, with the aid of his colleague Dr Wallis, the Professor of Geometry, by means of a timber-trussed roof supporting a painted ceiling which represented the open sky.The City of London's churches were rebuilt over a period of nearly fifty years; the first to be completed and reopened was St Mary-at-Hill in 1676, and the last St Michael Cornhill in 1722, when Wren was 89. They had to be rebuilt upon the original medieval sites and they illustrate, perhaps more clearly than any other examples of Wren's work, the fertility of his imagination and his ability to solve the most intractable problems of site, limitation of space and variation in style and material. None of the churches is like any other. Of the varied sites, few are level or possess right-angled corners or parallel sides of equal length, and nearly all were hedged in by other, often larger, buildings. Nowhere is his versatility and inventiveness shown more clearly than in his designs for the steeples. There was no English precedent for a classical steeple, though he did draw upon the Dutch examples of the 1630s, because the London examples had been medieval, therefore Roman Catholic and Gothic, churches. Many of Wren's steeples are, therefore, Gothic steeples in classical dress, but many were of the greatest originality and delicate beauty: for example, St Mary-le-Bow in Cheapside; the "wedding cake" St Bride in Fleet Street; and the temple diminuendo concept of Christ Church in Newgate Street.In St Paul's Cathedral Wren showed his ingenuity in adapting the incongruous Royal Warrant Design of 1675. Among his gradual and successful amendments were the intriguing upper lighting of his two-storey choir and the supporting of the lantern by a brick cone inserted between the inner and outer dome shells. The layout of the Royal Hospital at Greenwich illustrates Wren's qualities as an overall large-scale planner and designer. His terms of reference insisted upon the incorporation of the earlier existing Queen's House, erected by Inigo Jones, and of John Webb's King Charles II block. The Queen's House, in particular, created a difficult problem as its smaller size rendered it out of scale with the newer structures. Wren's solution was to make it the focal centre of a great vista between the main flanking larger buildings; this was a masterstroke.[br]Principal Honours and DistinctionsKnighted 1673. President, Royal Society 1681–3. Member of Parliament 1685–7 and 1701–2. Surveyor, Greenwich Hospital 1696. Surveyor, Westminster Abbey 1699.Surveyor-General 1669–1712.Further ReadingR.Dutton, 1951, The Age of Wren, Batsford.M.Briggs, 1953, Wren the Incomparable, Allen \& Unwin. M.Whinney, 1971, Wren, Thames \& Hudson.K.Downes, 1971, Christopher Wren, Allen Lane.G.Beard, 1982, The Work of Sir Christopher Wren, Bartholomew.DY -
19 Biles, Sir John Harvard
SUBJECT AREA: Ports and shipping[br]b. 1854 Portsmouth, Englandd. 27 October 1933 Scotland (?)[br]English naval architect, academic and successful consultant in the years when British shipbuilding was at its peak.[br]At the conclusion of his apprenticeship at the Royal Dockyard, Portsmouth, Biles entered the Royal School of Naval Architecture, South Kensington, London; as it was absorbed by the Royal Naval College, he graduated from Greenwich to the Naval Construction Branch, first at Pembroke and later at the Admiralty. From the outset of his professional career it was apparent that he had the intellectual qualities that would enable him to oversee the greatest changes in ship design of all time. He was one of the earliest proponents of the revolutionary work of the hydrodynamicist William Froude.In 1880 Biles turned to the merchant sector, taking the post of Naval Architect to J. \& G. Thomson (later John Brown \& Co.). Using Froude's Law of Comparisons he was able to design the record-breaking City of Paris of 1887, the ship that started the fabled succession of fast and safe Clyde bank-built North Atlantic liners. For a short spell, before returning to Scotland, Biles worked in Southampton. In 1891 Biles accepted the Chair of Naval Architecture at the University of Glasgow. Working from the campus at Gilmorehill, he was to make the University (the oldest school of engineering in the English-speaking world) renowned in naval architecture. His workload was legendary, but despite this he was admired as an excellent lecturer with cheerful ways which inspired devotion to the Department and the University. During the thirty years of his incumbency of the Chair, he served on most of the important government and international shipping committees, including those that recommended the design of HMS Dreadnought, the ordering of the Cunarders Lusitania and Mauretania and the lifesaving improvements following the Titanic disaster. An enquiry into the strength of destroyer hulls followed the loss of HMS Cobra and Viper, and he published the report on advanced experimental work carried out on HMS Wolf by his undergraduates.In 1906 he became Consultant Naval Architect to the India Office, having already set up his own consultancy organization, which exists today as Sir J.H.Biles and Partners. His writing was prolific, with over twenty-five papers to professional institutions, sundry articles and a two-volume textbook.[br]Principal Honours and DistinctionsKnighted 1913. Knight Commander of the Indian Empire 1922. Master of the Worshipful Company of Shipwrights 1904.Bibliography1905, "The strength of ships with special reference to experiments and calculations made upon HMS Wolf", Transactions of the Institution of Naval Architects.1911, The Design and Construction of Ships, London: Griffin.Further ReadingC.A.Oakley, 1973, History of a Facuity, Glasgow University.FMWBiographical history of technology > Biles, Sir John Harvard
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20 Nash, John
SUBJECT AREA: Architecture and building[br]b. c. 1752 (?) London, Englandd. 13 May 1835 Cowes, Isle of Wight[br]English architect and town planner.[br]Nash's name is synonymous with the great scheme carried out for his patron, the Prince Regent, in the early nineteenth century: the development of Marylebone Park from 1811 constituted a "garden city" for the wealthy in the centre of London. Although only a part of Nash's great scheme was actually achieved, an immense amount was carried out, comprising the Regent's Park and its surrounding terraces, the Regent's Street, including All Souls' Church, and the Regent's Palace in the Mall. Not least was Nash's exotic Royal Pavilion at Brighton.From the early years of the nineteenth century, Nash and a number of other architects took advantage of the use of structural materials developed as a result of the Industrial Revolution; these included wrought and cast iron and various cements. Nash utilized iron widely in the Regent Street Quadrant, Carlton House Terrace and at the Brighton Pavilion. In the first two of these his iron columns were masonry clad, but at Brighton he unashamedly constructed iron column supports, as in the Royal Kitchen, and his ground floor to first floor cast-iron staircase, in which he took advantage of the malleability of the material to create a "Chinese" bamboo design, was particularly notable. The great eighteenth-century terrace architecture of Bath and much of the later work in London was constructed in stone, but as nineteenth-century needs demanded that more buildings needed to be erected at lower cost and greater speed, brick was used more widely for construction; this was rendered with a cement that could be painted to imitate stone. Nash, in particular, employed this method at Regent's Park and used a stucco made from sand, brickdust, powdered limestone and lead oxide that was suited for exterior work.[br]Further ReadingTerence Davis, 1960, The Architecture of John Nash, Studio.——1966, John Nash: The Prince Regent's Architect, Country Life.Sir John Summerson, 1980, John Nash: Architect to King George IV, Allen \& Unwin.DY
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