constructional form

1) General subject: casing, decking, encasement, form

2) Aviation: false frame

3) Engineering: centring, concrete form, curb (для бетонирования), deck (для плоских железобетонных элементов), dome (для устройства монолитного железобетонного ребристого перекрытия), forwork, sheeting, shuttering, shutters

4) Construction: box, cast formwork, constructional form, covering boards, false work, forms, formwork, lathing, lathwork, lining, lining sheeting, mold (тж. pl), mould, sheathing, timbering (для бетонных работ)

5) Railway term: centering, lining of board, moulding board (для укладки бетонной смеси)

6) Architecture: frame, framework

7) Mining: falsework, falsework plates (для укладки бетона), forming, shuttering (для бетонирования), wood planking

8) Forestry: lagging, lagging of centering

9) Polygraphy: mold

10) Oil: shutter

11) Silicates: board lining

12) Drilling: encasing

13) Oilfield: shutter form, shutter formwork

14) Makarov: deck (для плоских плоских железобетонных элементов)

 

"дуговая" неисправность
Неисправность, приводящая к возникновению дуги.
[Интент]

Параллельные тексты EN-RU

An arc fault occurs when there is a reduction in the dielectric strength of the insulating means (air, in LV switchboards) interposed between two or more conducting elements at different potential.

The arc is generated at the moment when, due to the high ionization of the air, there is a breakdown of the dielectric of the medium and the consequent flow of the current through it.

In an arc fault the highest stresses are of thermal type and proportional to RaI² owing to the high value taken by the arc resistance Ra; this because the fault current flows in a medium which is always insulating, even if extremely ionized.

Such stresses manifest themselves essentially in the form of:
• high thermal gradients caused by the quick and intense rise in the air temperature;
• high pressure gradients in the form of pressure wave;
• high ionization of the air with consequent reduction of its insulating strength.

Generally speaking, in a LV assembly designed and tested according to the Standard IEC 60439-1 an arc fault is not very likely to occur; however, should it occur, the consequences would be extremely harmful to both the equipment as well as the personnel (see Chapters 2.2 and 2.3).

The causes of an arc fault can be both technical as well as non technical; among the latter the most frequent are the following:
• personnel errors, above all during maintenance operations;
• installation operations not sufficiently accurate;
• inadequate maintenance, above all in the case of severe environmental conditions.

Among the technical causes of an arc fault in a LV assembly the following ones are to be remembered:
• breakdown of the insulation essentially in the proximity of the supports of the busbars and of the plug-in contacts of the withdrawable units (75% of cases);
• overvoltages generating disruptive discharges between the points at minimum clearances (15% of cases);
• constructional defects of the apparatus (10% of cases).

[ABB]

К «дуговой» неисправности, относится неисправность, обусловленная уменьшением электрической прочности изолирующей среды (воздуха в НКУ) между двумя или более токоведущими частями, находящимися под разными электрическими потенциалами.

Дуга образуется в тот момент, когда вследствие высокой ионизации воздуха происходит пробой изолирующей среды, вследствие чего через нее начинает протекать электрический ток.

Проявлением дуговой неисправности, является тепловое воздействие, пропорциональное RaI² и достигающее большого значения вследствие большого сопротивления дуги Ra.
Дело в том, что ток дуги протекает через среду, которая всегда является изолирующей, пусть даже и чрезвычайно ионизированной.

Указанные воздействия очевидны сами по себе особенно в форме:
• теплового градиента температуры, вызванного быстрым и интенсивным подъемом температуры воздуха;
• высоким градиентом давления в форме волны давления;
• высокой ионизацией воздуха с последующим уменьшением электрической прочности.

Вообще говоря, в НКУ, разработанных и испытанных в соответствии с требованиями стандарта МЭК 60439-1 «дуговая» неисправность маловероятна. Однако, если дуга все таки возникнет, ее последствия буду чрезвычайно тяжелыми как для оборудования, так и для персонала (см. п. 2.2 и 2.3).

Причина дуговой неисправности может носить как технический, так и нетехнический характер. Среди последних наиболее часто возникают следующие:
• ошибки персонала, совершаемые главным образом во время технического обслуживания;
• недостаточно аккуратное выполнение монтажа;
• ненадлежащее техническое обслуживание, главным образом при эксплуатации НКУ в тяжелых условиях окружающей среды.

Среди технических причин дуговой неисправности в НКУ необходимо помнить о следующих:
• пробой изоляции, особенно вблизи опор шин и втычных контактов выдвижных частей НКУ (75 % случаев);
• перенапряжения, вызываемые разрушительными электрическими разрядами между точками с минимальными зазорами (15 % случаев);
• конструктивные дефекты аппаратуры (10 % случаев).

[Перевод Интент]

Тематики

• НКУ (шкафы, пульты,...)

EN

• arc fault

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f < Grund> dilapidation

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SUBJECT AREA: Architecture and building

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A year after he began practice as an architect, Gropius was responsible for the pace-setting Fagus shoe-last factory at Alfeld-an-der-Leine in Germany, one of the few of his buildings to survive the Second World War. Today the building does not appear unusual, but in 1911 it was a revolutionary prototype, heralding the glass curtain walled method of non-load-bearing cladding that later became ubiquitous. Made from glass, steel and reinforced concrete, this factory initiated a new concept, that of the International school of modern architecture.

In 1919 Gropius was appointed to head the new School of Art and Design at Weimar, the Staatliches Bauhaus. The school had been formed by an amalgamation of the Grand Ducal schools of fine and applied arts founded in 1906. Here Gropius put into practice his strongly held views and he was so successful that this small college, which trained only a few hundred students in the limited years of its existence, became world famous, attracting artists, architects and students of quality from all over Europe.

Gropius's idea was to set up an institution where students of all the arts and crafts could work together and learn from one another. He abhorred the artificial barriers that had come to exist between artists and craftsmen and saw them all as interdependent. He felt that manual dexterity was as essential as creative design. Every Bauhaus student, whatever the individual's field of work or talent, took the same original workshop training. When qualified they were able to understand and supervise all the aesthetic and constructional processes that made up the scope of their work.

In 1924, because of political changes, the Weimar Bauhaus was closed, but Gropius was invited to go to Dessau to re-establish it in a new purpose-built school which he designed. This group of buildings became a prototype that designers of the new architectural form emulated. Gropius left the Bauhaus in 1928, only a few years before it was finally closed due to the growth of National Socialism. He moved to England in 1934, but because of a lack of architectural opportunities and encouragement he continued on his way to the USA, where he headed the Department of Architecture at Harvard University's Graduate School of Design from 1937 to 1952. After his retirement from there Gropius formed the Architect's Collaborative and, working with other architects such as Marcel Breuer and Pietro Belluschi, designed a number of buildings (for example, the US Embassy in Athens (1960) and the Pan Am Building in New York (1963)).

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SUBJECT AREA: Architecture and building

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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).

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