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1 decorative design
1) Математика: художественное оформление2) Реклама: оформительский дизайн -
2 decorative design
süslü desen -
3 decorative design
ஒப்பனை வடுவமைப்பு -
4 decorative design
süslü desen -
5 design
design [dɪˈzaɪn]1. nouna. ( = pattern) motif mb. ( = plan drawn in detail) [of building, machine, car] plan m (of, for de ) ; [of dress, hat] modèle m (of, for de)• have you seen the designs for the new cathedral? avez-vous vu les plans de la nouvelle cathédrale ?c. ( = way in which sth is planned and made) [of clothes] style m ; [of car, machine, building, book] conception f ; ( = look) design m• the design of the car allows... la façon dont la voiture est conçue permet...d. ( = completed model) modèle m• the dress is an exclusive design by... cette robe est un modèle exclusif de...f. ( = intention) to have designs on sb/sth avoir des visées sur qn/qcha. ( = think out) [+ object, car, model, building] concevoirb. ( = draw on paper) dessinerc. ( = destine for particular purpose) room designed as a study pièce conçue comme cabinet de travail• to be designed for sb ( = aimed at particular person) s'adresser à qn• to be designed to do sth ( = be made for sth) être conçu pour faire qch ; ( = be aimed at sth) être destiné à faire qch3. compounds* * *[dɪ'zaɪn] 1.1) (idea, conception) conception f2) (planning, development) (of object, appliance) conception f; (of building, room) agencement m; ( of clothing) création f4) (model, completed object) modèle m5) ( art of designing) gen design m; ( fashion) stylisme m6) ( decorative pattern) motif m7) Art, University arts mpl appliqués2.to have designs on — avoir des vues fpl sur
transitive verb1) (conceive, plan out) concevoir2) ( intend)to be designed for something/to do — ( destined for) être destiné à quelque chose/à faire; ( made for) être conçu pour quelque chose/pour faire
3) ( draw plan for) [draughtsman] dessiner le patron de [garment]; [designer] créer [costume, garment]; dessiner [building, appliance] -
6 design
A n2 (planning, development) (of object, appliance) conception f ; (of building, room) agencement m ; ( of clothing) création f ;3 (drawing, plan) ( detailed) plan m (for de) ; ( sketch) croquis m (for de) ; ( for dress) croquis m ;4 (model, completed object) modèle m ; this car is a very modern design cette voiture est un modèle très moderne ; this season's new designs les nouveaux modèles de cette saison ; an exclusive design by Nino Fashn une création originale de Nino ;5 ( art of designing) gen design m ; ( fashion) stylisme m ; to study design étudier le design ; ⇒ interior design etc ;7 ( intention) dessein m (to do de faire) ; by design à dessein ; to have designs on avoir des vues fpl or des visées fpl sur [job, title, car] ; to have (evil) designs on sb/sth avoir des vues (mal intentionnées) sur qn/qch.B vtr1 (conceive, plan out) concevoir [object, appliance, building, garment, experiment, course] ; well/badly designed bien/mal conçu ;2 ( intend) to be designed for sth/to do ( destined for) être destiné à qch/à faire ; ( made for) être conçu pour qch/pour faire ; a course designed for foreign students un cours conçu pour or destiné aux étudiants étrangers ; a track designed for the use of cyclists une piste destinée aux cyclistes ; a bowl designed to hold four litres/for the microwave un bol prévu or fait pour contenir quatre litres/pour le micro-onde ; to be designed as ( for particular purpose) être prévu or conçu comme ; ( in the style of) représenter, être conçu comme ;3 ( draw plan for) [draughtsman] dessiner le patron de [garment] ; [designer, stylist] créer [costume, garment, wardrobe] ; dessiner or faire les plans de [building, bridge, object, appliance]. -
7 decorative
decorative [ˈdekərətɪv]* * *['dekərətɪv], US ['dekəreɪtɪv]adjective [border, frill] décoratif/-ive; [sculpture, design] ornemental -
8 decorative
decorative, US [transcription]["dek\@reItIv"] adj [border, frill] décoratif/-ive ; [sculpture, design] ornemental. -
9 design
I [dɪ'zaɪn]1) (idea, conception) progettazione f., concezione f.of faulty design — mal progettato o concepito
2) (planning, development) (of object, appliance) design m., progettazione f.; (of building, room) progetto m.; (of clothing) creazione f.3) (drawing, plan) (detailed) disegno m., piano m. ( for di); (sketch) schizzo m., abbozzo m. ( for di)4) (model)6) (decorative pattern) motivo m.7) (intention) disegno m., intenzione f. ( to do di fare)II [dɪ'zaɪn]to have designs on — avere delle mire su [ job]; ambire ad avere [ car]
1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]2) (intend)to be designed for sth., to do — (destined for) essere adatto a qcs., a fare; (made for) essere creato o concepito per qcs., per fare
3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment]* * *1. verb(to invent and prepare a plan of (something) before it is built or made: A famous architect designed this building.) progettare2. noun1) (a sketch or plan produced before something is made: a design for a dress.) disegno2) (style; the way in which something has been made or put together: It is very modern in design; I don't like the design of that building.) design, progettazione3) (a pattern etc: The curtains have a flower design on them.) disegno4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) proposito•- designer- designing* * *I [dɪ'zaɪn]1) (idea, conception) progettazione f., concezione f.of faulty design — mal progettato o concepito
2) (planning, development) (of object, appliance) design m., progettazione f.; (of building, room) progetto m.; (of clothing) creazione f.3) (drawing, plan) (detailed) disegno m., piano m. ( for di); (sketch) schizzo m., abbozzo m. ( for di)4) (model)6) (decorative pattern) motivo m.7) (intention) disegno m., intenzione f. ( to do di fare)II [dɪ'zaɪn]to have designs on — avere delle mire su [ job]; ambire ad avere [ car]
1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]2) (intend)to be designed for sth., to do — (destined for) essere adatto a qcs., a fare; (made for) essere creato o concepito per qcs., per fare
3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment] -
10 design
1. verb(to invent and prepare a plan of (something) before it is built or made: A famous architect designed this building.) diseñar, estructurar, concebir, idear
2. noun1) (a sketch or plan produced before something is made: a design for a dress.) diseño, dibujo2) (style; the way in which something has been made or put together: It is very modern in design; I don't like the design of that building.) diseño3) (a pattern etc: The curtains have a flower design on them.) diseño, dibujo, motivo4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan, intención, proyecto, propósito•- designer- designing
design1 n1. diseño2. dibujo / motivo3. planodesign2 vb diseñartr[dɪ'zaɪn]2 (arrangement, planning) diseño3 (plan, drawing) plano, proyecto; (sketch) boceto; (of dress) patrón nombre masculino; (of product, model) modelo4 (decorative pattern) diseño, dibujo, motivo■ was it by accident or by design? ¿ocurrió por casualidad o bien a propósito?1 (make drawing, plan, model) diseñar, proyectar; (fashion, set, product) diseñar; (course, programme) planear, estructurar2 (develop for a purpose) diseñar, concebir, idear; (intend, mean) pensar, destinar■ the programme is designed for use in schools el programa está pensado para ser utilizado en institutos■ the prison was originally designed to hold 500 inmates la cárcel fue concebida al principio para 500 presos1 diseñar\SMALLIDIOMATIC EXPRESSION/SMALLto have designs on somebody/something tener las miradas puestas en alguien, tener los ojos puestos en alguien/algodesign [di'zaɪn] vt1) devise: diseñar, concebir, idear2) plan: proyectar3) sketch: trazar, bosquejardesign n1) plan, scheme: plan m, proyecto mby design: a propósito, intencionalmente2) sketch: diseño m, bosquejo m3) pattern, style: diseño m, estilo m4) designs nplintentions: propósitos mpl, designios mpln.• bosquejo s.m.• designio s.m.• dibujo s.m.• diseño s.m.• plan s.m.• plano s.m.• plantilla s.f.• trazado s.m.v.• bosquejar v.• destinar v.• dibujar v.• diseñar v.• idear v.• trazar v.
I dɪ'zaɪn1) c ua) (of product, car, machine) diseño m; ( drawing) diseño m, boceto m; (before n)b) (pattern, decoration) diseño m, motivo m, dibujo mc) (product, model) modelo m2) ua) ( Art) diseño mb) ( style) estilo m, líneas fpl3)a) c ( plan) (liter) plan mb) designs plural noun ( intentions) propósitos mpl, designios mpl (liter)to have designs on something/somebody — tener* los ojos puestos en algo/alguien
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1) ( devise) \<\<house/garden\>\> diseñar, proyectar; \<\<dress/product\>\> diseñar; \<\<course/program\>\> planear, estructurar2) designed past pa) ( created) diseñadoa well-designed chair/machine — una silla/máquina bien diseñada or de buen diseño
b) ( meant)[dɪ'zaɪn]1. N1) [of building] (=plan, drawing) proyecto m, diseño m ; (=ground plan) distribución f ; (=preliminary sketch) boceto m ; (=pattern) motivo m ; [of cloth, wallpaper etc] dibujo m ; (=style) estilo m, líneas fpl ; (=art of design) diseño mindustrial design — diseño m industrial
2) (=intention) intención f, propósito m ; (=plan) plan m, proyecto m•
by design — a propósito, adredewhether by accident or design, he managed it — lo consiguió, ya sea por casualidad o a propósito
•
to have designs on sth/sb — tener las miras puestas en algo/algn2. VT1) [+ building etc] diseñar, proyectar; [+ dress, hat] diseñar; [+ course] estructurarwe will design an exercise plan specially for you — elaboraremos un programa de ejercicios especial para usted
2) (=intend)to be designed for sth/sb: a course designed for foreign students — un curso concebido or pensado para los estudiantes extranjeros
it was not designed for that — [tool] no fue diseñado para eso
to be designed to do sth: clothes that are designed to appeal to young people — ropa que está diseñada para atraer a la juventud
the strike was designed to cause maximum disruption — la huelga se planeó para causar el mayor trastorno posible
3.CPDdesign and technology — (Brit) (Scol) ≈ dibujo m y tecnología
design brief N — instrucciones fpl para el diseño
design department N — departamento m de diseño, departamento m de proyectos
design engineer N — ingeniero(-a) m / f diseñador(a)
design fault N — fallo m de diseño
design feature N — elemento m del diseño
design flaw N — fallo m de diseño
design studio N — estudio m de diseño
* * *
I [dɪ'zaɪn]1) c ua) (of product, car, machine) diseño m; ( drawing) diseño m, boceto m; (before n)b) (pattern, decoration) diseño m, motivo m, dibujo mc) (product, model) modelo m2) ua) ( Art) diseño mb) ( style) estilo m, líneas fpl3)a) c ( plan) (liter) plan mb) designs plural noun ( intentions) propósitos mpl, designios mpl (liter)to have designs on something/somebody — tener* los ojos puestos en algo/alguien
II
1) ( devise) \<\<house/garden\>\> diseñar, proyectar; \<\<dress/product\>\> diseñar; \<\<course/program\>\> planear, estructurar2) designed past pa) ( created) diseñadoa well-designed chair/machine — una silla/máquina bien diseñada or de buen diseño
b) ( meant) -
11 design
s.1 dibujo, motivo (decorative pattern)2 modelo, diseño (estilo) (de coche, muebles, telas)3 diseño (drawing, subject)4 propósito (intention)5 distribución.vt.diseñar (building, vehicle, clothes)vi.1 proponerse.2 tener por empleo hacer diseños, ya sean artísticos o para la industria. (pt & pp designed) -
12 intarsia design
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13 pattern
'pætən1) (a model or guide for making something: a dress-pattern.) patrón, modelo2) (a repeated decoration or design on material etc: The dress is nice but I don't like the pattern.) modelo3) (an example suitable to be copied: the pattern of good behaviour.) patrón, modelo•pattern n1. diseño / estampado2. patróntr['pætən]1 (decorative design) diseño, dibujo; (on fabric) diseño, estampado2 (way something develops) orden nombre masculino, estructura, pauta■ a pattern began to emerge after the third murder después del tercer asesinato se empezaron a detectar ciertos rasgos en común3 (example, model) ejemplo, modelo\SMALLIDIOMATIC EXPRESSION/SMALLto pattern oneself on somebody imitar a alguien, seguir el ejemplo de alguien, tomar a alguien como modeloto pattern something on something inspirarse algo en algo, tomar algo como modelo para algopattern book (of wallpaper, fabrics) muestrario, libro de muestras 2 (of dress patterns) revista de patronespattern ['pæt̬ərn] vt1) base: basar (en un modelo)2)to pattern after : hacer imitación depattern n1) model: modelo m, patrón m (de costura)2) design: diseño m, dibujo m, estampado m (de tela)3) norm, standard: pauta f, norma f, patrón mn.• calaña s.f.• configuración s.f.• dechado s.m.• dibujo (Contenido) s.m.• diseño (ARG, INF) s.m.• ejemplar s.m.• ejemplo s.m.• escantillón s.m.• forma s.f.• gálibo s.m.• modalidad s.f.• modelo s.m.• molde s.m.• padrón s.m.• patrón (Textil) s.m.• pauta s.f.• plantilla s.f.v.• modelar v.
I 'pætərn, 'pætən1)a) ( decoration) diseño m, dibujo m; ( on fabric) diseño m, estampado mb) (order, arrangement)behavior pattern — ( Psych) patrón m conductual or de conducta
2)a) ( model) modelo mb) ( in dressmaking) patrón m, molde m (CS)c) ( sample) muestra f
II
['pætǝn]1. N1) (=design) dibujo ma fabric in or with a floral pattern — una tela con un dibujo or diseño floral
2) (Sew, Knitting) patrón m, molde m (S. Cone)3) (fig) (=system, order)•
a healthy eating pattern — unos hábitos alimenticios sanos•
to follow a pattern — seguir unas pautasit is following the usual pattern — se está desarrollando como siempre or según las pautas
•
a system of government on the British pattern — un sistema de gobierno basado en el modelo británico•
it set a pattern for other conferences — marcó las pautas para otros congresos, creó el modelo para otros congresos2. VT1) (=model)•
to pattern sth after or on sth, a building patterned after a 14th century chapel — un edificio modelado sobre una capilla del siglo XIVaction movies patterned on Rambo — películas fpl de acción que siguen el modelo de Rambo
2) (=mark) estampar3.CPDpattern book N — [of wallpaper, fabrics] muestrario m ; (Sew, Knitting) libro m de patrones
pattern recognition N — reconocimiento m de formas
* * *
I ['pætərn, 'pætən]1)a) ( decoration) diseño m, dibujo m; ( on fabric) diseño m, estampado mb) (order, arrangement)behavior pattern — ( Psych) patrón m conductual or de conducta
2)a) ( model) modelo mb) ( in dressmaking) patrón m, molde m (CS)c) ( sample) muestra f
II
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14 pattern
A n1 ( decorative design) dessin m, motif m ; striped/floral pattern motif à rayures/de fleurs ; a pattern of roses un motif de roses ; he drew a pattern in the sand il a tracé une figure dans le sable ;2 ( regular or standard way of happening) pattern of behaviour, behaviour pattern mode m de comportement ; working patterns in industry l'organisation f du travail dans l'industrie ; the current pattern of events la situation actuelle ; the pattern of events leading to the revolution l'enchaînement des événements qui a conduit à la révolution ; a clear pattern emerges from these statistics une tendance nette ressort de ces statistiques ; the current scandal is part of a much wider pattern of corruption le scandale actuel s'inscrit dans un climat de corruption généralisée ; he could detect a pattern in the plot il arrivait à discerner une logique dans l'intrigue ; to follow a set pattern se dérouler toujours de la même façon ; traffic pattern distribution f de la circulation ; weather patterns tendances fpl climatiques ; ⇒ trade pattern ;3 (model, example) modèle m ; on the pattern of sur le modèle de ; to set the pattern for sth déterminer le modèle de qch ;5 ( style of manufacture) style m ;7 Ling modèle m ; -
15 Wright, Frank Lloyd
SUBJECT AREA: Architecture and building[br]b. 8 June 1869 Richland Center, Wisconsin, USAd. 9 April 1959 Phoenix, Arizona, USA[br]American architect who, in an unparalleled career spanning almost seventy years, became the most important figure on the modern architectural scene both in his own country and far further afield.[br]Wright began his career in 1887 working in the Chicago offices of Adler \& Sullivan. He conceived a great admiration for Sullivan, who was then concentrating upon large commercial projects in modern mode, producing functional yet decorative buildings which took all possible advantage of new structural methods. Wright was responsible for many of the domestic commissions.In 1893 Wright left the firm in order to set up practice on his own, thus initiating a career which was to develop into three distinct phases. In the first of these, up until the First World War, he was chiefly designing houses in a concept in which he envisaged "the house as a shelter". These buildings displayed his deeply held opinion that detached houses in country areas should be designed as an integral part of the landscape, a view later to be evidenced strongly in the work of modern Finnish architects. Wright's designs were called "prairie houses" because so many of them were built in the MidWest of America, which Wright described as a "prairie". These were low and spreading, with gently sloping rooflines, very plain and clean lined, built of traditional materials in warm rural colours, blending softly into their settings. Typical was W.W.Willit's house of 1902 in Highland Park, Illinois.In the second phase of his career Wright began to build more extensively in modern materials, utilizing advanced means of construction. A notable example was his remarkable Imperial Hotel in Tokyo, carefully designed and built in 1916–22 (now demolished), with special foundations and structure to withstand (successfully) strong earthquake tremors. He also became interested in the possibilities of reinforced concrete; in 1906 he built his church at Oak Park, Illinois, entirely of this material. In the 1920s, in California, he abandoned his use of traditional materials for house building in favour of precast concrete blocks, which were intended to provide an "organic" continuity between structure and decorative surfacing. In his continued exploration of the possibilities of concrete as a building material, he created the dramatic concept of'Falling Water', a house built in 1935–7 at Bear Run in Pennsylvania in which he projected massive reinforced-concrete terraces cantilevered from a cliff over a waterfall in the woodlands. In the later 1930s an extraordinary run of original concepts came from Wright, then nearing 70 years of age, ranging from his own winter residence and studio, Taliesin West in Arizona, to the administration block for Johnson Wax (1936–9) in Racine, Wisconsin, where the main interior ceiling was supported by Minoan-style, inversely tapered concrete columns rising to spreading circular capitals which contained lighting tubes of Pyrex glass.Frank Lloyd Wright continued to work until four days before his death at the age of 91. One of his most important and certainly controversial commissions was the Solomon R.Guggenheim Museum in New York. This had been proposed in 1943 but was not finally built until 1956–9; in this striking design the museum's exhibition areas are ranged along a gradually mounting spiral ramp lit effectively from above. Controversy stemmed from the unusual and original design of exterior banding and interior descending spiral for wall-display of paintings: some critics strongly approved, while others, equally strongly, did not.[br]Principal Honours and DistinctionsRIBA Royal Gold Medal 1941.Bibliography1945, An Autobiography, Faber \& Faber.Further ReadingE.Kaufmann (ed.), 1957, Frank Lloyd Wright: an American Architect, New York: Horizon Press.H.Russell Hitchcock, 1973, In the Nature of Materials, New York: Da Capo.T.A.Heinz, 1982, Frank Lloyd Wright, New York: St Martin's.DY -
16 Sullivan, Louis Henry
SUBJECT AREA: Architecture and building[br]b. 3 September 1856 Boston, Massachusetts, USAd. 14 April 1924 Chicago, Illinois, USA[br]American architect whose work came to be known as the "Chicago School of Architecture" and who created a new style of architecture suited specifically to steel-frame, high-rise structures.[br]Sullivan, a Bostonian, studied at the Massachusetts Institute of Technology. Soon he joined his parents, who had moved to Chicago, and worked for a while in the office of William Le Baron Jenney, the pioneer of steel-frame construction. After spending some time studying at the Ecole des Beaux Arts in Paris, in 1875 Sullivan returned to Chicago, where he later met and worked for the Danish architect Dankmar Adler, who was practising there. In 1881 the two architects became partners, and during the succeeding fifteen years they produced their finest work and the buildings for which Sullivan is especially known.During the early 1880s in Chicago, load-bearing, metal-framework structures that made lofty skyscrapers possible had been developed (see Jenney and Holabird). Louis H.Sullivan initiated building design to stress and complement the metal structure rather than hide it. Moving onwards from H.H.Richardson's treatment of his Marshall Field Wholesale Store in Chicago, Sullivan took the concept several stages further. His first outstanding work, built with Adler in 1886–9, was the Auditorium Building in Chicago. The exterior, in particular, was derived largely from Richardson's Field Store, and the building—now restored—is of bold but simple design, massively built in granite and stone, its form stressing the structure beneath. The architects' reputation was established with this building.The firm of Sullivan \& Adler established itself during the early 1890s, when they built their most famous skyscrapers. Adler was largely responsible for the structure, the acoustics and function, while Sullivan was responsible for the architectural design, concerning himself particularly with the limitation and careful handling of ornament. In 1892 he published his ideas in Ornament in Architecture, where he preached restraint in its quality and disposition. He established himself as a master of design in the building itself, producing a rhythmic simplicity of form, closely related to the structural shape beneath. The two great examples of this successful approach were the Wainwright Building in St Louis, Missouri (1890–1) and the Guaranty Building in Buffalo, New York (1894–5). The Wainwright Building was a ten-storeyed structure built in stone and brick and decorated with terracotta. The vertical line was stressed throughout but especially at the corners, where pilasters were wider. These rose unbroken to an Art Nouveau type of decorative frieze and a deeply projecting cornice above. The thirteen-storeyed Guaranty Building is Sullivan's masterpiece, a simple, bold, finely proportioned and essentially modern structure. The pilaster verticals are even more boldly stressed and decoration is at a minimum. In the twentieth century the almost free-standing supporting pillars on the ground floor have come to be called pilotis. As late as the 1920s, particularly in New York, the architectural style and decoration of skyscrapers remained traditionally eclectic, based chiefly upon Gothic or classical forms; in view of this, Sullivan's Guaranty Building was far ahead of its time.[br]BibliographyArticle by Louis H.Sullivan. Address delivered to architectural students June 1899, published in Canadian Architecture Vol. 18(7):52–3.Further ReadingHugh Morrison, 1962, Louis Sullivan: Prophet of Modern Architecture.Willard Connely, 1961, Louis Sullivan as He Lived, New York: Horizon Press.DY -
17 badge engineering
упр. эмблемная инженерия* (предложение рынку функционально одинаковых устройств, но под различными названиями; напр., двух одинаковых автомобилей, которые при этом имеют немного разный дизайн и разные марки и попадают в разные ценовые категории)However, when the engineers came together to design the new J-car, they relied heavily on the previous design of the X-car — engaging in 'badge engineering' — changing the nameplate and a few decorative features. — Однако когда конструкторы приступили к разработке нового типа автомобилей J-car, они в значительной степени полагались на конструкцию предшествовавшего семейства автомобилей – X-car, – осуществляя «эмблемную инженерию», т. е. меняя эмблему с названием автомобиля и внося лишь немногие изменения в декоративное оформление.
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18 Cross-Stitch
A decorative stitch consisting of two stitches that cross each other. On even plaids, stripes and loose basket weaves the design may be worked directly on the fabric, but on other materials the design must be stamped or cross-stitch canvas used. -
19 Albert, Prince Consort
[br]b. 26 August 1819 The Rosenau, near Coburg, Germanyd. 14 December 1861 Windsor Castle, England[br]German/British polymath and Prince Consort to Queen Victoria.[br]Albert received a sound education in the arts and sciences, carefully designed to fit him for a role as consort to the future Queen Victoria. After their marriage in 1840, Albert threw himself into the task of establishing his position as, eventually, Prince Consort and uncrowned king of England. By his undoubted intellectual gifts, unrelenting hard work and moral rectitude, Albert moulded the British constitutional monarchy into the form it retains to this day. The purchase in 1845 of the Osborne estate in the Isle of Wight provided not only the growing royal family with a comfortable retreat from London and public life, but Albert with full scope for his abilities as architect and planner. With Thomas Cubitt, the eminent engineer and contractor, Albert erected at Osborne one of the most remarkable buildings of the nineteenth century. He went on to design the house and estate at Balmoral in Scotland, another notable creation.Albert applied his abilities as architect and planner in the promotion of such public works as the London sewer system and, in practical form, the design of cottages for workers, such as those in south London, as well as those on the royal estates. Albert's other main contribution to technology was as educationist in a broad sense. In 1847, he was elected Chancellor of Cambridge University. He was appalled at the low standards and narrow curriculum prevailing there and at Oxford. He was no mere figurehead, but took a close and active interest in the University's affairs. With his powerful influence behind them, the reforming fellows were able to force measures to raise standards and widen the curriculum to take account, in particular, of the rapid progress in the natural sciences. Albert was instrumental in ending the lethargy of centuries and laying the foundations of the modern British university system.In 1847 the Prince became Secretary of the Royal Society of Arts. With Henry Cole, the noted administrator who shared Albert's concern for the arts, he promoted a series of exhibitions under the auspices of the Society. From these grew the idea of a great exhibition of the products of the decorative and industrial arts. It was Albert who decided that its scope should be international. As Chairman of the organizing committee, by sheer hard work he drove the project through to a triumphant conclusion. The success of the Exhibition earned it a handsome profit for which Albert had found a use even before it closed. The proceeds went towards the purchase of a site in South Kensington, for which he drew up a grand scheme for a complex of museums and colleges for the education of the people in the sciences and the arts. This largely came to fruition and South Kensington today is a fitting memorial to the Prince Consort's wisdom and concern for the public good.[br]Further ReadingSir Theodore Martin, 1875–80, The Life of His Royal Highness, the Prince Consort, 5 vols, London; German edn 1876; French edn 1883 (the classic life of the Prince).R.R.James, 1983, Albert, Prince Consort: A Biography, London: Hamish Hamilton (the standard modern biography).L.R.Day, 1989, "Resources for the study of the history of technology in the Science Museum Library", IATUL Quarterly 3:122–39 (provides a short account of the rise of South Kensington and its institutions).LRD -
20 Turner, Richard
[br]b. 1798 probably Dublin, Ireland d. 1881[br]Irish engineer offerrovitreous structures such as glasshouses and roofs of railway terminus buildings. Lime Street Station, Liverpool, erected 1849–50, was a notable example of the latter.[br]Turner's first glasshouse commission was for the Palm House at the Botanic Gardens in Belfast, begun in 1839; this structure was designed by Charles Lanyon, Turner being responsible for the ironwork construction. The Belfast Palm House was followed in 1843 by the Palm House for the Royal Dublin Society, but the structure for which Turner is best known is the famous Palm House in the Royal Botanic Gardens at Kew Gardens in London. This was originally designed in 1844 by the architect Decimus Burton, but his concept was rejected and Turner was asked to design a new one. Burton tried again, basing his new design upon that of Turner but also incorporating features that made it more similar to the famous Great Conservatory by Paxton at Chatsworth. Finally, Turner was contracted to build the Palm Stove in collaboration with Burton. Completed in 1848, the Kew Palm House is the finest example of the glasshouses of that era. This remarkable structure is simple but impressive: it is 362 ft (110 m) long and is covered by 45,000 ft2 (4,180 m2) of greenish glass. Inside, in the central taller part, a decorative, cast-iron, spiral staircase gives access to an upper gallery, from where tall plants may be clearly viewed; the roof rises to 62 ft (19 m). The curving, glazed panels, set in ribs of wrought iron, rise from a low masonry wall. The ingenious method of construction of these ribs was patented by Turner in 1846. It consists of wrought-iron tie rods inserted into hollow cast-iron tubes; these can be tightened after the erection of the building is complete, so producing a stable, balanced structure not unlike the concept of a timber-trussed roof. The Palm Stove has only recently undergone extensive adaptation to modern needs.[br]Further ReadingJ.Hix, 1974, The Glass House, Cambridge, Mass.: MIT Press, pp. 122–7 (the Palm House at Kew).U.Kulturmann, 1979, Architecture and Urbanism, Tokyo, pp. 76–81 (the Palm House at Kew).DY
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