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1 Betonski i armirano betonski objekti
• Concrete and reinforced Concrete StructuresHrvatski-Engleski rječnik > Betonski i armirano betonski objekti
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2 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 -
3 Perret, Auguste
[br]b. 12 February 1874 Ixelles, near Brussels, Belgiumd. 26 February 1954 Le Havre (?), France[br]French architect who pioneered and established building design in reinforced concrete in a style suited to the modern movement.[br]Auguste Perret belonged to the family contracting firm of A. \& G.Perret, which early specialized in the use of reinforced concrete. His eight-storey building at 25 bis Rue Franklin in Paris, built in 1902–3, was the first example of frame construction in this material and established its viability for structural design. Both ground plan and façade are uncompromisingly modern, the simplicity of the latter being relieved by unobtrusive faience decoration. The two upper floors, which are set back, and the open terrace roof garden set a pattern for future schemes. All of Perret's buildings had reinforced-concrete structures and this was clearly delineated on the façade designs. The concept was uncommon in Europe at the time, when eclecticism still largely ruled, but was derived from the late nineteenth-century skyscraper façades built by Louis Sullivan in America. In 1905–6 came Perret's Garage Ponthieu in Paris; a striking example of exposed concrete, it had a central façade window glazed in modern design in rich colours. By the 1920s ferroconcrete was in more common use, but Perret still led the field in France with his imaginative, bold use of the material. His most original structure is the Church of Notre Dame at Le Raincy on the outskirts of Paris (1922–3). The imposing exterior with its tall tower in diminishing stages is finely designed, but the interior has magnificence. It is a wide, light church, the segmented vaulted roof supported on slender columns. The whole structure is in concrete apart from the glass window panels, which extend the full height of the walls all around the church. They provide a symphony of colour culminating in deep blue behind the altar. Because of the slenderness of the columns and the richness of the glass, this church possesses a spiritual atmosphere and unimpeded sight and sound of and from the altar for everyone. It became the prototype for churches all over Europe for decades, from Moser in prewar Switzerland to Spence's postwar Coventry Cathedral.In a long working life Perret designed buildings for a wide range of purposes, adhering to his preference for ferroconcrete and adapting its use according to each building's needs. In the 1940s he was responsible for the railway station at Amiens, the Atomic Centre at Saclay and, one of his last important works, the redevelopment after wartime damage of the town centre of Le Havre. For the latter, he laid out large open squares enclosed by prefabricated units, which display a certain monotony, despite the imposing town hall and Church of St Joseph in the Place de L'Hôtel de Ville.[br]Principal Honours and DistinctionsPresident des Réunions Internationales des Architectes. American Society of the French Legion of Honour Gold Medal 1950. Elected after the Second World War to the Institut de France. First President of the International Union of Architects on its creation in 1948. RIBA Royal Gold Medal 1948.Further ReadingP.Blater, 1939, "Work of the architect A.Perret", Architektura SSSR (Moscow) 7:57 (illustrated article).1848 "Auguste Perret: a pioneer in reinforced concrete", Civil Engineers' Review, pp.296–300.Peter Collins, 1959, Concrete: The Vision of a New Architecture: A Study of Auguste Perret and his Precursors, Faber \& Faber.Marcel Zahar, 1959, D'Une Doctrine d'Architecture: Auguste Perret, Paris: Vincent Fréal.DY -
4 железобетонный
прил. к железобетонсборные железобетонные конструкции, детали и т. п. — pre-fabricated ferro-concrete structures, parts, etc.
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5 бетон и железобетонные конструкции
Construction: concrete and reinforced concrete structuresУниверсальный русско-английский словарь > бетон и железобетонные конструкции
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6 Tragwerke aus Beton, Stahlbeton und Spannbeton
Tragwerke npl aus Beton, Stahlbeton und Spannbeton (DIN 1045-2/A3) concrete, reinforced and prestressed concrete structuresDeutsch-Englisch Fachwörterbuch Architektur und Bauwesen > Tragwerke aus Beton, Stahlbeton und Spannbeton
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7 Bemessung von Stahlbeton- und Spannbetontragwerken
Bemessung f von Stahlbeton- und Spannbetontragwerken BB, TK design of (reinforced and prestressed) concrete structures (EN 1992)Deutsch-Englisch Fachwörterbuch Architektur und Bauwesen > Bemessung von Stahlbeton- und Spannbetontragwerken
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8 залізобетонний
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9 Monier, Joseph
[br]b. 1823 Franced. 1906 Paris, France[br]French gardener and one of the principal inventors of reinforced concrete.[br]Monier was a commercial gardener who in the course of his work was struck with the idea of inserting iron reinforcement in concrete tubs such as were used for growing orange trees. He patented this idea in 1867 and exhibited his invention the same year at the Paris Exposition. It soon occurred to him to apply the same principles to other engineering structures such as railway sleepers, pipes, floors, arches and bridges. In 1878 he took out a French patent for reinforced concrete beams and held numerous other patents for the material. Although he was not the only one to realize the benefits of combining a concrete girder or slab to resist compressive forces with iron or steel wires or rods to resist tensile stresses, "Das System Monier" was known as such by 1887 throughout Europe.[br]Further ReadingJ.W.De Courcy, 1987, "The emergence of reinforced concrete", Structural Engineer 65A: 316.IMcN -
10 Coignet, François
SUBJECT AREA: Architecture and building[br]b. 1814d. 1888[br]French pioneer in the development of the structural use of iron reinforcement of concrete.[br]As early as 1847, Coignet built some houses of poured (unreinforced) concrete, but in 1852, in a house at 72 rue Charles Michel, in St Denis, he first employed his own system of what he called béton armé, meaning reinforced concrete. Coignet exhibited his technique of reinforcement using iron bars at the Paris Exposition of 1855 and was quoted as forecasting that cement, concrete and iron were destined to replace stone. A year later he patented a method of reinforcing concrete with iron tirants, a reference to the metal ropes or bars being under tension, and in 1861 he published a treatise on concrete. Coignet is credited with building several examples of concrete shell casing to iron structures in conjunction with different architects—e.g., the Church of Le Vésinet (1863, Seine et Oise).[br]Further ReadingNikolaus Pevsner, 1984, Pioneers of Modern Design, Penguin.DY -
11 Breuer, Marcel Lajos
[br]b. 22 May 1902 Pécs, Hungaryd. 1 July 1981 New York (?), USA[br]Hungarian member of the European Bauhaus generation in the 1920s, who went on to become a leader in the modern school of architectural and furniture design in Europe and the United States.[br]Breuer began his student days following an art course in Vienna, but joined the Bauhaus at Weimar, where he later graduated, in 1920. When Gropius re-established the school in purpose-built structures at Dessau, Breuer became a member of the teaching staff in charge of the carpentry and furniture workshops. Much of his time there was spent in design and research into new materials being applied to furniture and interior decoration. The essence of his contribution was to relate the design of furniture to industrial production; in this field he developed the tubular-steel structure, especially in chair design, and experimented with aluminium as a furniture material as well as pieces of furniture made up from modular units. His furniture style was characterized by an elegance of line and a careful avoidance of superfluous detail. By 1926 he had furnished the Bauhaus with such furniture in chromium-plated steel, and two years later had developed a cantilevered chair.Breuer left the Bauhaus in 1928 and set up an architectural practice in Berlin. In the early 1930s he also spent some time in Switzerland. Notable from these years was his Harnischmacher Haus in Wiesbaden and his apartment buildings in the Dolderthal area of Zurich. His architectural work was at first influenced by constructivism, and then by that of Le Corbusier (see Charles-Edouard Jeanneret). In 1935 he moved to England, where in partnership with F.R.S. Yorke he built some houses and continued to practise furniture design. The Isokon Furniture Co. commissioned him to develop ideas that took advantage of the new bending and moulding processes in laminated wood, one result being his much-copied reclining chair.In 1937, like so many of the European architectural refugees from Nazism, he found himself under-occupied due to the reluctance of English clients to embrace the modern architectural movement. He went to the United States at Gropius's invitation to join him as a professor at Harvard. Breuer and Gropius were influential in training a new generation of American architects, and in particular they built a number of houses. This partnership ended in 1941 and Breuer set up practice in New York. His style of work from this time on was still modern, but became more varied. In housing, he adapted his style to American needs and used local materials in a functional manner. In the Whitney Museum (1966) he worked in a sculptural, granite-clad style. Often he utilized a bold reinforced-concrete form, as in his collaboration with Pier Luigi Nervi and Bernard Zehrfuss in the Paris UNESCO Building (1953–8) and the US Embassy in the Hague (1954–8). He displayed his masterly handling of poured concrete used in a strikingly expressionistic, sculptural manner in his St John's Abbey (1953–61) in Collegeville, Minnesota, and in 1973 his Church of St Francis de Sale in Michigan won him the top award of the American Institute of Architects.[br]Principal Honours and DistinctionsAmerican Institute of Architects Medal of Honour 1964, Gold Medal 1968. Jefferson Foundation Medal 1968.Bibliography1955, Sun and Shadow, the Philosophy of an Architect, New York: Dodd Read (autobiography).Further ReadingC.Jones (ed.), 1963, Marcel Breuer: Buildings and Projects 1921–1961, New York: Praeger.T.Papachristou (ed.), 1970, Marcel Breuer: New Buildings and Projects 1960–1970, New York: Praeger.DY
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