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1 material
A n1 (information, data) documentation f, documents mpl (about, on sur ; for pour) ; to collect material on sth se documenter sur qch ; I'm collecting material for a book je recueille de la documentation pour un livre ; to draw on material from the archives se baser sur des documents provenant des archives ; course ou teaching material matériel m pédagogique ; promotional material, publicity material documentation f publicitaire ; reference material référentiel m ; some of the material in the report is inaccurate certains passages du rapport sont inexacts ;2 ( subject matter) sujet m ; I'll use the material in my next article je traiterai ce sujet dans mon prochain article ; the material in the magazine is controversial le contenu de la revue est controversé ; some of the material in the show is unsuitable for children certaines parties du spectacle ne sont pas pour les enfants ;3 Theat, TV ( script) texte m ; ( show) spectacle m ; she writes all her own material elle écrit ses textes elle-même ;4 Mus chansons fpl ; he writes all his own material il est auteur-compositeur ; I'm working on material for a new album je suis en train de travailler à mon nouvel album ;5 ( substance) gen matière f, substance f ; Constr, Tech matériau m ; explosive material matière or substance explosive ; natural material matière or substance naturelle ; nuclear material matériaux mpl nucléaires ; packing material matériaux mpl d'emballage ; plastic material matériaux mpl plastiques ; waste material déchets mpl ;6 ( fabric) tissu m, étoffe f ; cotton material tissu en coton ; curtain/dress material tissu pour rideaux/pour robes ; furnishing material tissu d'ameublement ; natural/synthetic material étoffe naturelle/synthétique ;7 ( personal potential) étoffe f ; she is star/executive material elle a l'étoffe d'une vedette/d'un cadre ; he is not really university material il n'est pas capable d'entreprendre des études universitaires.1 ( equipment) matériel m ; art materials, artist's materials fournitures fpl de dessin ; cleaning materials produits mpl d'entretien ;2 ( natural substances) matériaux mpl.C adj1 (significant, relevant) [assistance, benefit, change, damage, effect] matériel/-ielle ; [anxiety, question] important ; [fact] pertinent ; [witness, evidence] matériel/-ielle ; to be material to sth se rapporter à qch ;2 (physical, concrete) [cause, comfort, consideration, gain, need, possessions, success, support] matériel/-ielle ; in material terms, we are better off nous sommes plus à l'aise sur le plan matériel ; to do sth for material gain faire qch par esprit de lucre. -
2 Krylov, Alexei Nicolaevitch
SUBJECT AREA: Ports and shipping[br]b. 15 August 1863 Visyoger, Siberiad. 26 October 1945 Leningrad (now St Petersburg), Russia[br]Russian academician and naval architect) exponent of a rigorous mathematical approach to the study of ship motions.[br]After schooling in France and Germany, Krylov returned to St Petersburg (as it then was) and in 1878 entered the Naval College. Upon graduating, he started work with the Naval Hydrographic Department; the combination of his genius and breadth of interest became apparent, and from 1888 until 1890 he undertook simultaneously a two-year university course in mathematics and a naval architecture course at his old college. On completion of his formal studies, Krylov commenced fifty years of service to the academic bodies of St Petersburg, including eight years as Superintendent of the Russian Admiralty Ship Model Experiment Tank. For many years he was Professor of Naval Architecture in the city, reorganizing the methods of teaching of his profession in Russia. It was during this period that he laid the foundations of his remarkable research and published the first of his many books destined to become internationally accepted in the fields of waves, rolling, ship motion and vibration. Practical work was not overlooked: he was responsible for the design of many vessels for the Imperial Russian Navy, including the battleships Sevastopol and Petropavlovsk, and went on, as Director of Naval Construction, to test anti-rolling tanks aboard military vessels in the North Atlantic in 1913. Following the Revolution, Krylov was employed by the Soviet Union to re-establish scientific links with other European countries, and on several occasions he acted as Superintendent in the procurement of important technical material from overseas. In 1919 he was appointed Head of the Marine Academy, and from then on participated in many scientific conferences and commissions, mainly in the shipbuilding field, and served on the Editorial Board of the well-respected Russian periodical Sudostroenie (Shipbuilding). The breadth of his personal research was demonstrated by the notable contributions he made to the Russian development of the gyro compass.[br]Principal Honours and DistinctionsMember, Russian Academy of Science 1814. Royal Institution of Naval Architects Gold Medal 1898. State Prize of the Soviet Union (first degree). Stalin Premium for work on compass deviation.BibliographyKrylov published more than 500 books, papers and articles; these have been collected and published in twelve volumes by the Academy of Sciences of the USSR. 1942, My Memories (autobiography).AK / FMWBiographical history of technology > Krylov, Alexei Nicolaevitch
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3 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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