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41 dépendre
dépendre [depɑ̃dʀ]➭ TABLE 41 indirect transitive verb• dépendre de [employé] to be answerable to ; [organisation] to be dependent on ; [territoire] to be a dependency of ; [décision, résultat, phénomène] to depend on* * *depɑ̃dʀ
1.
verbe transitif to take down [tableau]
2.
dépendre de verbe transitif indirect1) ( reposer sur)2) ( avoir besoin de)3) ( être sous l'autorité de)dépendre de — [organisme, région] to come under the control of; [personne] to be responsible to
5) ( être un territoire de)6) ( être une dépendance de)dépendre de — [bâtiment, terre] to belong to
* * *depɑ̃dʀ1. vt[tableau] to take down2. viÇa dépend du temps. — It depends on the weather.
Tout va dépendre de ce qu'il va décider. — Everything will depend on what he decides.
Il ne dépend que de nous que nous soyons plus heureux dans notre travail. — It's entirely up to us whether we are happier at work.
dépendre de [institution] — to be dependent on, [puissance souveraine] to be a dependency of
Ces territoires dépendaient de la France. — These territories were French dependencies.
* * *dépendre verb table: rendreA vtr to take down [pendu, tableau, décoration, jambon].B dépendre de vtr ind1 ( reposer sur) dépendre de to depend on; ton avenir en dépend your future depends on it; il dépend de toi que it depends on you whether; il ne dépend pas de toi qu'elle vienne it's not up to you whether she comes or not; ça dépend de toi it's up to you; il dépend de toi d'être prêt it's up to you to be ready; ça dépend it depends; cela dépend qui/pourquoi it depends who/why;2 ( avoir besoin de) dépendre de [personne, pays, économie] to be dependent on; dépendre financièrement de qn to be financially dependent on sb;3 ( être sous l'autorité de) dépendre de [organisme, comité, région] to come under the control of; [personne] to be responsible to; combien de personnes dépendent du ministère? how many people are employed by the ministry?;4 ( être la responsabilité de) dépendre de [environnement, dérogations] to be the responsibility of;5 ( être un territoire de) dépendre de to be a dependency of;6 ( être une dépendance de) dépendre de [bâtiment, terre, forêt] to belong to.[depɑ̃dr] verbe transitif[décrocher - tableau, tapisserie] to take down (separable)————————dépendre de verbe plus préposition1. [suj: employé, service] to be answerable toil dépend du chef de service he's answerable ou he reports to the departmental headdépendre (financièrement) de quelqu'un to be financially dependent on ou upon somebody4. [suj: décision, choix, résultat] to depend onnotre avenir en dépend our future depends ou rests on it -
42 rénovation
rénovation [ʀenɔvasjɔ̃]feminine nouna. [de maison] renovation ; ( = nouvelle décoration) refurbishment ; [de quartier] renovation ; [de meuble] restorationb. [d'enseignement, institution, méthode] reform* * *ʀenɔvasjɔ̃1) Construction, Bâtiment ( de quartier) renovation; (de maison, d'immeuble) ( pour gros travaux) renovation; ( pour simples travaux) refurbishment* * *ʀenɔvasjɔ̃ nf1) [immeuble] renovation2) [meuble] restoration3) [enseignement] reform, reforming4) [quartier] redevelopment* * *rénovation nf1 Constr ( de quartier) renovation; (de maison, immeuble) ( pour gros travaux) renovation; ( pour simples travaux) refurbishment; ( de route) repairs (pl);[renɔvasjɔ̃] nom féminin1. [d'un meuble, d'un immeuble] renovationla maison est en rénovation the house is being done up ou is having a complete facelift -
43 suspendre
suspendre [syspɑ̃dʀ]➭ TABLE 411. transitive verb• suspendre qch à [+ clou, crochet, portemanteau] to hang sth onb. ( = interrompre) to suspend ; [+ récit, négociations, relations diplomatiques] to break off ; [+ audience, séance] to adjourn ; [+ décision] to postponec. ( = destituer) to suspend• suspendre qn de ses fonctions ( = mettre à pied) to suspend sb from office2. reflexive verb• se suspendre à [+ branche, barre] to hang from* * *syspɑ̃dʀ
1.
1) ( pendre) to hang upsuspendre quelque chose/quelqu'un par — to hang something/somebody by
2) ( interrompre) to suspend [émission, publication, relations, paiement]; to end [grève]; to adjourn [séance, réunion, enquête, procès]; to stop [diffusion]3) ( destituer) to suspend [fonctionnaire, médecin, sportif] (de from)
2.
se suspendre verbe pronominal [personne, animal] to hang* * *syspɑ̃dʀ vt1) (= accrocher) [vêtement] to hang up2) (= fixer) [lustre, rideaux] to hang3) (= interrompre) to suspend4) (= destituer) to suspend* * *suspendre verb table: rendreA vtr1 ( pendre) to hang up; suspendre des vêtements/un jambon/un tableau to hang up clothes/a ham/a picture; suspendre qch à qch to hang sth on sth; suspendre un objet à un clou/au mur to hang an object on a nail/on the wall; suspendre qch/qn par to hang sth/sb by;2 ( interrompre) to suspend [émission, publication, relations, paiement]; to end [grève]; to adjourn [séance, réunion, enquête, procès]; to stop [diffusion]; suspendre toute aide économique/l'exécution des travaux/les livraisons de pétrole to suspend all economic aid/work/oil deliveries; la séance est suspendue the meeting is adjourned; suspendre un ordre de grève to suspend strike action; suspendre son souffle to hold one's breath; suspendre la cotation d'une action Fin to suspend a share;3 ( destituer) to suspend [fonctionnaire, médecin, sportif] (de from); l'athlète est suspendu de toutes les épreuves the athlete has been suspended from all events; suspendre qn pour six mois to suspend sb for six months; on m'a suspendu mon permis de conduire○ my licence was suspended.B se suspendre vpr [personne, animal] to hang; se suspendre à une corde/branche to hang from a rope/branch; se suspendre par les bras/pieds to hang by one's arms/feet.[syspɑ̃dr] verbe transitif1. [accrocher - lustre, vêtement] to hang2. [dépendre de]être suspendu à to depend ou to be dependent on3. [interrompre - hostilités] to suspend ; [ - négociations] to break off (separable) ; [ - séance, audience] to adjourn ; [ - récit] to interrupt5. [interdire - émission, journal] to ban[révoquer - fonctionnaire, prêtre, juge] to suspend————————se suspendre à verbe pronominal plus préposition -
44 tēctōrius
tēctōrius adj. [tego], relating to overlaying, concerned with surface decoration: (sepulcrum) opere tectorio exornari, i. e. with stucco.—As subst n., superficial work, plaster, stucco, fresco-painting: tectorium vetus delitum et novum inductum.— Poet., plur, paste for the complexion, Iu.* * *tectoria, tectorium ADJused for covering, or for plastering -
45 प्रतिकर्मन्
prati-karmann. requital, retaliation, corresponding action MBh. R. ;
counteraction, cure, medical treatment Car. ;
decoration, toilet, personal adornment MBh. R. etc.;
(a) ind. in every work, at each performance orᅠ celebration KātyṠr. MBh.
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46 украшение
1) ( резное или лепное) fret(work); ( только лепное) stucco moulding2) ( предмета) adornmentдрагоценное украше́ние (иконы) — precious adornment
украше́ние церкви — decoration of a church
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47 отделочный
finishing (attr), trimming (attr)отде́лочные рабо́ты — finishing work sg
отде́лочный стройматериа́л — decoration materials pl
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48
κατάβασις-εως + ἡ N 3 0-7-2-0-3=12 Jos 8,24; 10,11; Jgs 1,16; 1 Sm 23,20descent, precipice Mi 1,4; falling down (of snow) Sir 43,18; id. (of hailstones) Sir 46,6ἔργον καταβάσεως beveled work (temple decoration) 1 Kgs 7,16(29); ψυχὴν εἰς κατάβασιν desire to come down 1 Sm 23,20*Jos 8,24 ἐν τῷ ὄρει ἐπὶ τῆς καταβάσεως on the mountain on the descent, on the descent of the mountain-במורד (בהר?) for MT במדבר in the wilderness, cpr. 7,5; 10,11; *Jgs 1,16 ἐπὶ καταβάσεως at the descent-במורד for MT ערד Arad -
49 Greek Embroidery
A variety of applique work for the decoration of small mats, banner screens and other fancy articles. Pieces of coloured silk are arranged in arabesque designs and stitched down. -
50 Reshami Bharat-Kam
Native hand decoration, done with white coloured silks in chain and back stitches. The design consisting of flowers and birds almost entirely covers the ground. The work is chiefly done on the saris worn by Parsi women. When embroidered by the frame it is called Karchobi.Dictionary of the English textile terms > Reshami Bharat-Kam
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51 διάτρητος
διά-τρητος, ον,A bored through, pierced, Gal.2.668.II Lat. diatreta, glass vessels with open-work decoration, Mart.12.70.9.Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > διάτρητος
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52 Brunelleschi, Filippo
SUBJECT AREA: Architecture and building[br]b. 1377 Florence, Italyd. 15 April 1446 Florence, Italy[br]Italian artist, craftsman and architect who introduced the Italian Renaissance style of classical architecture in the fifteenth century.[br]Brunelleschi was a true "Renaissance Man" in that he excelled in several disciplines, as did most artists of the Italian Renaissance of the fifteenth and sixteenth centuries. He was a goldsmith and sculptor; fifteenth-century writers acknowledge him as the first to study and demonstrate the principles of perspective, and he clearly possessed a deep mathematical understanding of the principles of architectural structure.Brunelleschi's Foundling Hospital in Florence, begun in 1419, is accepted as the first Renaissance building, one whose architectural style is based upon a blend of the classical principles and decoration of Ancient Rome and those of the Tuscan Romanesque. Brunelleschi went on to design a number of important Renaissance structures in Florence, such as the basilicas of San Lorenzo and Santo Spirito, the Pazzi Chapel at Santa Croce, and the unfinished church of Santa Maria degli Angeli.However, the artistic and technical feat for which Brunelleschi is most famed is the completion of Florence Cathedral by constructing a dome above the octagonal drum which had been completed in 1412. The building of this dome presented what appeared to be at the time insuperable problems, which had caused previous cathedral architects to shy away from tackling it. The drum was nearly 140 ft (43 m) in diameter and its base was 180 ft (55 m) above floor level: no wooden centering was possible because no trees long enough to span the gap could be found, and even if they had been available, the weight of such a massive framework would have broken centering beneath. In addition, the drum had no external abutment, so the weight of the dome must exert excessive lateral thrust. Aesthetically, the ideal Renaissance dome, like the Roman dome before it (for example, the Pantheon) was a hemisphere, but in the case of the Florence Cathedral such a structure would have been unsafe, so Brunelleschi created a pointed dome that would create less thrust laterally. He constructed eight major ribs of stone and, between them, sixteen minor ones, using a light infilling. He constructed a double-shell dome, which was the first of this type but is a design that has been followed by nearly all major architects since this date (for example Michelangelo's Saint Peter's in Rome, and Wren's Saint Paul's in London). Further strength is given by a herringbone pattern of masonry and brick infilling, and by tension chains of massive blocks, fastened with iron and with iron chains above, girding the dome at three levels. A large lantern finally stops the 50 ft (15.25 m) diameter eye at the point of the dome. Construction of the Florence Cathedral dome was begun on 7 August 1420 and was completed to the base of the lantern sixteen years later. It survives as the peak of Brunelleschi's Renaissance achievement.[br]Further ReadingPeter Murray, 1963, The Architecture of the Italian Renaissance, Batsford, Ch. 2. Howard Saalman, 1980, Filippo Brunelleschi: The Cupola of Santa Maria del Fiore, Zwemmer.Piero Sanpaolesi, 1977, La Cupola di Santa Maria del Fiore: Il Progetto: La Costruzione, Florence: Edam.Eugenio Battisti, 1981, Brunelleschi: The Complete Work, Thames and Hudson.DY -
53 Mies van der Rohe, Ludwig
SUBJECT AREA: Architecture and building[br]b. 27 March 1886 Aachen, Germanyd. 17 August 1969 Chicago, USA[br]German architect, third of the great trio of long-lived, second-generation modernists who established the international style in the inter-war years and brought it to maturity (See Jeanneret (Le Corbusier) and Gropius).[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]Further ReadingL.Hilbersheimer, 1956, Ludwig Mies van der Rohe, Chicago: P.Theobald.Peter Blake, 1960, Mies van der Rohe, Architecture and Structure, Penguin, Pelican. Arthur Drexler, 1960, Ludwig Mies van der Rohe, London: Mayflower.Philip Johnson, 1978, Mies van der Rohe, Seeker and Warburg.DYBiographical history of technology > Mies van der Rohe, Ludwig
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54 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
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