designed by an architect

* * *

- academic.ru/3506/architecture">architecture

* * *

[ˈɑ:kɪtekt, AM ˈɑ:rkə-]

1. ARCHIT Architekt(in) m(f)

2. ( fig: creator) Schöpfer(in) m(f)

▶ every man is the \architect of his own fortune ( prov) jeder ist seines Glückes Schmied prov

* * *

n (lit, fig)

* * *

architect [ˈɑː(r)kıtekt] s

1. Architekt(in) (auch fig):

who was the architect of …? wer hat … erbaut?;

architect’s table Zeichentisch m

2. fig Schöpfer(in), Urheber(in), Gründer(in):

everyone is the architect of their own fate ( oder fortune) jeder ist seines Glückes Schmied

arch. abk

1. archaic

2. archaism

3. archery

4. archipelago

5. architect

6. architectural

7. architecture

* * *

* * *

Architekt m.

1) (showing agent, result) da

2) (through the means of) in, per, con

3) (according to, from evidence of) secondo, a

4) (via, passing through) attraverso, per, tramite, da

5) (near, beside) presso, vicino a, accanto a

6) (past)

7) (showing authorship) di

8) (before, not later than) per, entro

9) (during)

10) (according to)

11) (to the extent or degree of) di

12) (in measurements) per

13) mat. (in multiplication, division) per

14) (showing rate, quantity) a

15) (in successive degrees, units)

16) (with regard to) di

17) (as a result of) per

18) (with reflexive pronouns)

19) mar. (in compass directions)

1) (past)

2) (near) vicino, accanto

3) (aside)

4) (to one's house)

••

* * *

1) (next to; near; at the side of: by the door; He sat by his sister.) presso

2) (past: going by the house.) davanti

3) (through; along; across: We came by the main road.) per, attraverso

4) (used (in the passive voice) to show the person or thing which performs an action: struck by a stone.) da

5) (using: He's going to contact us by letter; We travelled by train.) per, in

6) (from; through the means of: I met her by chance; by post.) per

7) ((of time) not later than: by 6 o'clock.) per, entro

8) (during the time of.) di

9) (to the extent of: taller by ten centimetres.) di

10) (used to give measurements etc: 4 metres by 2 metres.) per

11) (in quantities of: fruit sold by the kilo.) a, al

12) (in respect of: a teacher by profession.) di

1) (near: They stood by and watched.) vicino

2) (past: A dog ran by.) di qui

3) (aside; away: money put by for an emergency.) da parte, via

•

- bygones: let bygones be bygones

- by-product

* * *

1) (showing agent, result) da

2) (through the means of) in, per, con

3) (according to, from evidence of) secondo, a

4) (via, passing through) attraverso, per, tramite, da

5) (near, beside) presso, vicino a, accanto a

6) (past)

7) (showing authorship) di

8) (before, not later than) per, entro

9) (during)

10) (according to)

11) (to the extent or degree of) di

12) (in measurements) per

13) mat. (in multiplication, division) per

14) (showing rate, quantity) a

15) (in successive degrees, units)

16) (with regard to) di

17) (as a result of) per

18) (with reflexive pronouns)

19) mar. (in compass directions)

1) (past)

2) (near) vicino, accanto

3) (aside)

4) (to one's house)

••

   Portugal's world's fair, held from May to October 1998, set in Lisbon. Designed to commemorate and celebrate the 500th anniversary of Vasco da Gama's 1498 discovery of an all-water route to India, this was an ambitious undertaking for a small country with a developing economy. The setting of the exposition was remote eastern Lisbon, along the banks of the Tagus estuary. To facilitate logistics, Portugal opened a new Metro station (Oriente) for the Expo and the new Vasco da Gama Bridge, just northeast of the site. More than 10 million visitors, many of them from abroad but a large proportion from Spain and Portugal, arrived at the site by Metro, bus, taxi, or car and were guided by signs in three languages: Portuguese, Spanish, and English. To the dismay of Francophones, the choice of English and Spanish reflected both the nature of the globalization process and Portugal's growing connections with Europe and the wider world.

   The theme of Expo '98 was "The Oceans, Heritage for the Future," and the official mascot-symbol was "Gil," a cartoon characterization of a drop of ocean water, based on the suggestion of schoolchildren from the small town of Barrancos. Somewhat in the spirit of Disney's Mickey Mouse, "Gil" reflected cheeriness, but his message was serious, alerting the public to the fact that the oceans were endangered and fresh drinking water increasingly in short supply for a burgeoning world population. Among the outstanding structures at Expo '98 was the Pavilion of Portugal, designed by Portuguese architect Álvaro Siza Vieira, and the Pavilion of the Oceans or the Oceanarium (which remained open to the public after the exposition closed), which was designed by an American architect.

   Despite the general success of the fair, critics gave mixed reviews to the historic commemoration of the Discoveries facets of the effort. No vessel from Vasco da Gama's 1497-99 famous voyage was reproduced at the fair's dockside exhibit—although there was a 19th-century sailing vessel and a reproduction of one of the vessels from Christopher Columbus's first voyage, constructed by Portuguese in Madeira—nor was there much else on Vasco da Gama in the Pavilion of Portugal. Instead, visitors were impressed with a multimedia show based on knowledge of a Portuguese shipwreck, a 17th-century nau, found by archaeologists in recent years. The sound and light show in this lovely space was magnificent. The most popular exhibits were the Oceanarium and the Utopia Pavilion, where lines could be hours long. Despite the fact that Expo '98 made only a weak effort to attract visitors from outside Europe, the general consensus was that it was a successful enterprise, unique in Portugal's record of historic and contemporary expositions since 1940.

    See also Commemorations, Portuguese historic.

by [baɪ]

━━━━━━━━━━━━━━━━━

1. preposition

2. adverb

3. compounds

━━━━━━━━━━━━━━━━━

► When by is an element in a phrasal verb, eg go by, stand by, look up the verb. When it is part of a set combination, eg by degrees, surrounded by, look up the other word.

━━━━━━━━━━━━━━━━━

1. preposition

   a. ( = close to) à côté de, près de

• come and sit by me viens t'asseoir à côté de moi

• her cousins are over there, and she's sitting by them ses cousins sont là-bas et elle est assise à côté (d'eux)

━━━━━━━━━━━━━━━━━

► by it and by them, when it and them refer to things, are translated by à côté alone.

━━━━━━━━━━━━━━━━━

• her bag was on the table and her keys right by it son sac était sur la table et ses clés juste à côté

   b. ( = past) à côté de

• he rushed by me without seeing me dans sa précipitation il est passé à côté de moi sans me voir

   c. ( = via) par

• which route did you come by? par où êtes-vous passés ?

• he came in by the window il est entré par la fenêtre

   d. ( = not later than) pour

• I'll be back by midnight je serai de retour pour minuit

• applications must be submitted by 21 April les candidatures doivent nous parvenir au plus tard le 21 avril

   e. ( = in) en

• by 1990 the figure had reached... en 1990, ce chiffre avait atteint...

• by 2010 the figure will have reached... en 2010, cette somme aura atteint...

   f. ( = on) by 30 September we had paid out £500 au 30 septembre nous avions payé 500 livres

• by yesterday it was clear that... dès hier on savait que...

   g. ( = according to) by my calculations d'après mes calculs

• by my watch it is 9 o'clock il est 9 heures à ma montre

   h. ( = for) (inf) it's fine or all right by me ça me va

• if that's okay by you si ça vous va

   i. (margin of difference) de

• wider by a metre plus large d'un mètre

   j. (dimensions) a room three metres by four une pièce de trois mètres sur quatre

   k. ( = created, written by) de

• a painting by Van Gogh un tableau de Van Gogh

• who's it by? c'est de qui ?

   l. (method, means, manner) à

• to do sth by hand faire qch à la main

• to sell by the kilo vendre au kilo

• to pay by the hour payer à l'heure

► by + -ing en

• by leaving early he missed the rush en partant de bonne heure il a évité la cohue► by + means of transport en

• by bus/car/taxi en bus/voiture/taxi

• by plane en avion

• by rail or train en train

• by bike à bicyclette► by + agent par

• he had been warned by his neighbour il avait été prévenu par son voisin

• I was surprised by their reaction j'ai été surpris de leur réaction

• he had a daughter by his first wife il a eu une fille de sa première femme

━━━━━━━━━━━━━━━━━

► When there is no clear agent, the active is more natural in French.

━━━━━━━━━━━━━━━━━

• he was disappointed by it ça l'a déçu

   m. (set structures)

► by and by bientôt

► by and large globalement

• by and large, I still think this is true globalement, je crois toujours que c'est vrai► by the way au fait

• by the way, did you know it was Ann's birthday? au fait, tu savais que c'était l'anniversaire d'Ann ?

2. adverb

( = along, past) he'll be by any minute il sera là dans un instant

• a train hurtled by un train passa à toute allure

3. compounds

► by-election noun élection f (législative) partielle

► by-product noun dérivé m ; (figurative) conséquence f (indirecte)

* * *

1) (showing agent, result) par

2) ( through the means of)

3) (according to, from evidence of) à

4) (via, passing through) par

5) (near, beside) à côté de, près de

6) ( past)

7) ( showing authorship) de

8) (before, not later than) avant

9) ( during)

10) ( according to)

11) ( to the extent or degree of) de

12) ( in measurements) sur

13) (in multiplication, division) par

14) (showing rate, quantity) à

15) (in successive degrees, units)

16) ( with regard to) de

17) ( as a result of) par

18) ( used with reflexive pronouns)

19) Nautical ( in compass directions) quart

1) ( past)

2) ( near) près

3) (aside, in reserve)

4) ( to one's house)

••

by ⇒ Usage note: by

A prep

1 (showing agent, result) par ; he was bitten by a snake il a été mordu par un serpent ; the house was designed by an architect la maison a été conçue par un architecte ; a building destroyed by fire un bâtiment détruit par le feu ; we were overwhelmed by the news nous avons été bouleversés par la nouvelle ; by working extra hours, he was able to earn more money en faisant des heures supplémentaires, il a pu gagner plus d'argent ; by selling some valuables, she was able to raise some money en vendant quelques objets de valeur, elle a pu rassembler des fonds ; to begin by saying that commencer par dire que ; any money paid by you will be reimbursed tout ce que vous avez payé vous sera remboursé ;

2 ( through the means of) to travel by bus/train voyager en bus/train ; by bicycle à bicyclette, en vélo ; to pay by cheque payer par chèque ; you can reach me by phone vous pouvez me contacter par téléphone ; by candlelight [dine] aux chandelles ; [read] à la bougie ; I know her by sight je la connais de vue ; I took him by the hand je l'ai pris par la main ; he grabbed me by the hair il m'a attrapé par les cheveux ; she was holding it by the handle elle le tenait par le manche ; he has two children by his first wife il a deux enfants de sa première femme ;

3 (according to, from evidence of) à ; by my watch it is three o'clock à ma montre, il est trois heures ; I could tell by the look on her face that she was angry rien qu'à la regarder je savais qu'elle était fâchée ; what did you understand by her remarks? comment est-ce que tu as compris ses remarques? ; I knew him by his walk je l'ai reconnu à sa démarche ; it's all right by me ça me va ;

4 (via, passing through) par ; we entered by the back door nous sommes entrés par la porte de derrière ; we'll get there quicker if we go by Birmingham nous y arriverons plus rapidement si nous passons par Birmingham ; we travelled to Rome by Venice and Florence nous sommes allés à Rome en passant par Venise et Florence ;

5 (near, beside) à côté de, près de ; by the bed/the window à côté du lit/de la fenêtre ; by the sea au bord de la mer ; come and sit by me viens t'asseoir à côté de moi ;

6 ( past) to go ou pass by sb passer devant qn ; she walked by me elle est passée devant moi ; they passed us by in their car ils nous ont dépassés dans leur voiture ; please let us get by s'il vous plaît, laissez-nous passer ;

7 ( showing authorship) de ; a film by Claude Chabrol un film de Claude Chabrol ; a novel by Virginia Woolf un roman de Virginia Woolf ; who is it by? c'est de qui? ;

8 (before, not later than) avant ; it must be done by four o'clock/next Thursday il faut que ce soit fait avant quatre heures/jeudi prochain ; by this time next week d'ici la semaine prochaine ; by the time she had got downstairs he was gone le temps qu'elle descende, il était parti ; he ought to be here by now il devrait être déjà là ; by now it was clear that they were going to win à ce moment-là il était clair qu'ils allaient gagner ; but by then it was too late mais il était déjà trop tard ;

9 ( during) by day as well as by night de jour comme de nuit ; by daylight au jour ; by moonlight au clair de lune ;

10 ( according to) forbidden by law interdit par la loi ; to play by the rules jouer selon les règles ; it seems primitive by western standards cela a l'air primitif selon or d'après les critères occidentaux ;

11 ( to the extent or degree of) de ; prices have risen by 20% les prix ont augmenté de 20% ; he's taller than me by two centimetres il fait deux centimètres de plus que moi, il est plus grand que moi de deux centimètres ; by far de loin ; she is by far the cleverest/the youngest elle est de loin la plus intelligente/la plus jeune ; it's better by far c'est beaucoup mieux ;

12 ( in measurements) sur ; a room 20 metres by 10 metres une pièce de 20 mètres sur 10 ;

13 Math (in multiplication, division) par ; 10 multiplied by 5 is 50 10 multiplié par 5 égale 50 ;

14 (showing rate, quantity) à ; to be paid by the hour être payé à l'heure ; by the dozen à la douzaine ;

15 (in successive degrees, units) little by little peu à peu ; day by day jour après jour ; one by one un par un, un à un ;

16 ( with regard to) de ; he is an architect by profession ou trade il est architecte de son métier ; by birth de naissance ;

17 ( as a result of) par ; by accident/mistake par accident/erreur ; by chance par hasard ;

18 ( used with reflexive pronouns) he did it all by himself il l'a fait tout seul ; she was sitting by herself elle était assise toute seule ;

19 (in promises, oaths) by God, I could kill him! je le jure, je pourrais le tuer! ; I swear by heaven je jure devant Dieu ;

20 Naut ( in compass directions) quart ; south by south-west sud quart sud-ouest.

B adv

1 ( past) to go by passer ; the people walking by les gens mpl qui passent/passaient, les passants mpl ; he walked on by without stopping il est passé sans s'arrêter ; a lot of time has gone by since then il s'est écoulé beaucoup de temps depuis lors ; as time goes by avec le temps ;

2 ( near) près ; he lives close by il habite tout près ;

3 (aside, in reserve) to put money by mettre de l'argent de côté ;

4 ( to one's house) come by for a drink passe prendre un verre ; she called by during the week elle est passée dans la semaine.

by and by bientôt ; by the by, by the bye à propos ; but that's by the by mais ça c'est un détail, mais ça c'est autre chose.

1) (a sketch or plan produced before something is made: a design for a dress.) tegning, mønster, design

2) (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, stil, utførelse, formgiving

3) (a pattern etc: The curtains have a flower design on them.) mønster, motiv

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan

•

- designer

hensikt

mønster

prøve

skissere

utkast

subst. \/dɪˈzaɪn\/

1) form(giving), design

2) planlegging, planløsning

3) utkast, skisse, plan, tegning

• she has made a design for a new library

4) konstruksjon, utførelse, utføring

5) type, modell, utgave

6) mønster, motiv

7) anslag, (ond) plan, renker

8) hensikt, formål

• I start this process with a design to finish it

by design tilsiktet, med vilje

a design on somebody's life et anslag mot noens liv

have designs against somebody nære onde hensikter mot noen

have designs on somebody legge an på noen

• she has designs on him

have designs on something ville ha tak i noe

• he has a design on your money

verb \/dɪˈzaɪn\/

1) formgi, designe

2) tegne (konturene av), skissere, lage utkast til

• the architect designed a new library

3) skape, konstruere, utføre, bygge

4) planlegge, tenke ut, beregne, pønske ut, klekke ut

5) tilsikte, være ment for, bestemme

• the room was designed for children

• his parents designed him for the teaching profession

6) ha til hensikt, ha som formål, akte

• we designed this to be used as a table

SUBJECT AREA: Architecture and building

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The name of Le Corbusier is synonymous with the International style of modern architecture and city planning, one utilizing functionalist designs carried out in twentieth-century materials with modern methods of construction. Charles-Edouard Jeanneret, born in the watch-making town of La Chaux-de-Fonds in the Jura mountain region, was the son of a watch engraver and dial painter. In the years before 1918 he travelled widely, studying building in many countries. He learned about the use of reinforced concrete in the studio of Auguste Perret and about industrial construction under Peter Behrens. In 1917 he went to live in Paris and spent the rest of his life in France; in 1920 he adopted the name of Le Corbusier, one derived from that of his ancestors (Le Corbesier), and ten years later became a French citizen.

Le Corbusier's long working life spanned a career divided into three distinct parts. Between 1905 and 1916 he designed a number of simple and increasingly modern houses; the years 1921 to 1940 were ones of research and debate; and the twenty years from 1945 saw the blossoming of his genius. After 1917 Le Corbusier gained a reputation in Paris as an architect of advanced originality. He was particularly interested in low-cost housing and in improving accommodation for the poor. In 1923 he published Vers une architecture, in which he planned estates of mass-produced houses where all extraneous and unnecessary features were stripped away and the houses had flat roofs and plain walls: his concept of "a machine for living in". These white boxes were lifted up on stilts, his pilotis, and double-height living space was provided internally, enclosed by large areas of factory glazing. In 1922 Le Corbusier exhibited a city plan, La Ville contemporaine, in which tall blocks made from steel and concrete were set amongst large areas of parkland, replacing the older concept of city slums with the light and air of modern living. In 1925 he published Urbanisme, further developing his socialist ideals. These constituted a major reform of the industrial-city pattern, but the ideas were not taken up at that time. The Depression years of the 1930s severely curtailed architectural activity in France. Le Corbusier designed houses for the wealthy there, but most of his work prior to 1945 was overseas: his Centrosoyus Administration Building in Moscow (1929–36) and the Ministry of Education Building in Rio de Janeiro (1943) are examples. Immediately after the end of the Second World War Le Corbusier won international fame for his Unité d'habitation theme, the first example of which was built in the boulevard Michelet in Marseille in 1947–52. His answer to the problem of accommodating large numbers of people in a small space at low cost was to construct an immense all-purpose block of pre-cast concrete slabs carried on a row of massive central supports. The Marseille Unité contains 350 apartments in eight double storeys, with a storey for shops half-way up and communal facilities on the roof. In 1950 he published Le Modular, which described a system of measurement based upon the human male figure. From this was derived a relationship of human and mathematical proportions; this concept, together with the extensive use of various forms of concrete, was fundamental to Le Corbusier's later work. In the world-famous and highly personal Pilgrimage Church of Notre Dame du Haut at Ronchamp (1950–5), Le Corbusier's work was in Expressionist form, a plastic design in massive rough-cast concrete, its interior brilliantly designed and lit. His other equally famous, though less popular, ecclesiastical commission showed a contrasting theme, of "brutalist" concrete construction with uncompromisingly stark, rectangular forms. This is the Dominican Convent of Sainte Marie de la Tourette at Eveux-sur-l'Arbresle near Lyon, begun in 1956. The interior, in particular, is carefully worked out, and the lighting, from both natural and artificial sources, is indirect, angled in many directions to illuminate vistas and planes. All surfaces are carefully sloped, the angles meticulously calculated to give optimum visual effect. The crypt, below the raised choir, is painted in bright colours and lit from ceiling oculi.

One of Le Corbusier's late works, the Convent is a tour de force.

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1) (a sketch or plan produced before something is made: a design for a dress.) diseño, dibujo

2) (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.) diseño

3) (a pattern etc: The curtains have a flower design on them.) diseño, dibujo, motivo

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan, intención, proyecto, propósito

•

- designer

design¹ n

1. diseño

2. dibujo / motivo

3. plano

design² vb diseñar

tr[dɪ'zaɪn]

noun

1 SMALLART/SMALL (gen) diseño, dibujo; (of fashion) diseño de modas, creación nombre femenino

2 (arrangement, planning) diseño

■ the design of the car el diseño del coche

3 (plan, drawing) plano, proyecto; (sketch) boceto; (of dress) patrón nombre masculino; (of product, model) modelo

4 (decorative pattern) diseño, dibujo, motivo

5 figurative use (purpose, intention) plan nombre masculino, intención, proyecto

■ was it by accident or by design? ¿ocurrió por casualidad o bien a propósito?

transitive verb

1 (make drawing, plan, model) diseñar, proyectar; (fashion, set, product) diseñar; (course, programme) planear, estructurar

■ Jean-Paul designed the costumes Jean-Paul diseñó el vestuario

2 (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 presos

intransitive verb

1 diseñar

\

to have designs on somebody/something tener las miradas puestas en alguien, tener los ojos puestos en alguien/algo

design [di'zaɪn] vt

1) devise: diseñar, concebir, idear

2) plan: proyectar

3) sketch: trazar, bosquejar

design n

1) plan, scheme: plan m, proyecto m

by design: a propósito, intencionalmente

2) sketch: diseño m, bosquejo m

3) pattern, style: diseño m, estilo m

4) designs npl

intentions: propósitos mpl, designios mpl

• bosquejo s.m.

• designio s.m.

• dibujo s.m.

• diseño s.m.

• plan s.m.

• plano s.m.

• plantilla s.f.

• trazado s.m.

• bosquejar v.

• destinar v.

• dibujar v.

• diseñar v.

• idear v.

• trazar v.

1) c u

a) (of product, car, machine) diseño m; ( drawing) diseño m, boceto m; (before n)

b) (pattern, decoration) diseño m, motivo m, dibujo m

c) (product, model) modelo m

2) u

a) ( Art) diseño m

b) ( style) estilo m, líneas fpl

3)

a) c ( plan) (liter) plan m

b) designs plural noun ( intentions) propósitos mpl, designios mpl (liter)

1) ( devise) \<\<house/garden\>\> diseñar, proyectar; \<\<dress/product\>\> diseñar; \<\<course/program\>\> planear, estructurar

2) designed past p

a) ( created) diseñado

b) ( meant)

1. N

1) [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 m

2) (=intention) intención f, propósito m ; (=plan) plan m, proyecto m

2. VT

1) [+ building etc] diseñar, proyectar; [+ dress, hat] diseñar; [+ course] estructurar

2) (=intend)

* * *

1) c u

a) (of product, car, machine) diseño m; ( drawing) diseño m, boceto m; (before n)

b) (pattern, decoration) diseño m, motivo m, dibujo m

c) (product, model) modelo m

2) u

a) ( Art) diseño m

b) ( style) estilo m, líneas fpl

3)

a) c ( plan) (liter) plan m

b) designs plural noun ( intentions) propósitos mpl, designios mpl (liter)

1) ( devise) \<\<house/garden\>\> diseñar, proyectar; \<\<dress/product\>\> diseñar; \<\<course/program\>\> planear, estructurar

2) designed past p

a) ( created) diseñado

b) ( meant)

1) (preliminary sketch) Entwurf, der

2) (pattern) Muster, das

3) no art. (art) Design, das; Gestaltung, die (geh.)

4) (established form of a product) Entwurf, der; (of machine, engine, etc.) Bauweise, die

5) (general idea, construction from parts) Konstruktion, die

6) in pl.

7) (purpose) Absicht, die

8) (end in view) Ziel, das

1) (draw plan of, sketch) entwerfen; konstruieren, entwerfen [Maschine, Fahrzeug, Flugzeug]

2)

3) (set apart) vorsehen

* * *

1) (a sketch or plan produced before something is made: a design for a dress.) der Entwurf

2) (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.) die Gestaltung, die Bauart

3) (a pattern etc: The curtains have a flower design on them.) das Muster

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) die Absicht

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- academic.ru/19873/designer">designer

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I. vt

1. (plan)

▪ to \design sth etw entwerfen

to \design books Bücher gestalten

to \design cars Autos konstruieren

to \design a dress ein Kleid entwerfen

2. (intend)

▪ to be \designed for sb für jdn konzipiert sein

these measures are \designed to reduce pollution diese Maßnahmen sollen die Luftverschmutzung verringern

II. vi entwerfen, gestalten

III. n

1. (plan or drawing) Entwurf m

2. no pl (art of creating designs) Design nt

to study \design Design studieren

3. (arrangement of form, colour) Design nt (of + gen); of building Bauart f; of machine Konstruktion f

4. no pl (intention) Vorsatz m, Absicht f

to do sth by \design etw mit Absicht tun

5. (pattern) Muster nt

6. ( fam: dishonest intentions)

▪ \designs pl Absichten pl; ( hum)

to have \designs on a championship es auf einen Titel abgesehen haben

IV. adj attr, inv Konstruktions-

\design fault Konstruktionsfehler m

\design feature Konstruktionsmerkmal nt

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1. n

1) (= planning, shaping etc of building, book, picture etc) Entwurf m; (of dress) Design nt, Entwurf m; (of car, machine, plane etc) Konstruktion f

2) no pl (as subject = art of designing) Design nt

3) (= pattern on pottery, material) Muster nt

4) (= intention) Plan m, Absicht f

2. vt

1) (= plan, draw) entwerfen; machine konstruieren

2)

3. vi

4. adj attr

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design [dıˈzaın]

A v/t

1. entwerfen, aufzeichnen, skizzieren, TECH konstruieren:

design a dress ein Kleid entwerfen

2. gestalten, ausführen, anlegen:

3. fig entwerfen, ausdenken, ersinnen

4. im Sinne haben, vorhaben, planen ( alle:

doing, to do zu tun)

5. bestimmen, vorsehen ( beide:

for für jemanden oder etwas;

as als):

be designed to do sth dafür bestimmt oder darauf angelegt sein, etwas zu tun (Sache)

6. (for) jemanden bestimmen (zu), ausersehen, vorsehen (zu, für):

he was designed for service in the navy;

design sb to be a priest jemanden dazu ausersehen, Priester zu werden

B v/i Pläne entwerfen, Entwürfe machen ( beide:

for für)

C s

1. Design n, Entwurf m, Zeichnung f, Plan m, Skizze f

2. Design n, Muster(zeichnung) n(f): → copyright A, protection 2, registered 2

3. TECH

a) Baumuster n, Konstruktionszeichnung f

b) Bauart f, Bau(weise) m(f), Konstruktion f, Ausführung f:

design engineer Konstrukteur(in); → industrial design

4. Design n, (dekoratives) Muster

5. (künstlerische oder äußere) Gestaltung, Formgebung f

6. Plan m, Anlage f, Anordnung f

7. Plan m, Vorhaben n, Absicht f:

by design mit Absicht, absichtlich;

with the design of doing mit der Absicht oder dem Vorsatz zu tun

8. Ziel n, (End)Zweck m

9. Anschlag m ([up]on sb’s life auf jemandes Leben), böse Absicht:

have designs (up)on ( oder against) etwas (Böses) im Schilde führen gegen, es abgesehen haben auf (akk), a. hum einen Anschlag vorhaben auf (akk)

10. Zweckmäßigkeit f:

argument from design REL Beweis m aus der Zweckmäßigkeit, teleologischer Gottesbeweis

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1) (preliminary sketch) Entwurf, der

2) (pattern) Muster, das

3) no art. (art) Design, das; Gestaltung, die (geh.)

4) (established form of a product) Entwurf, der; (of machine, engine, etc.) Bauweise, die

5) (general idea, construction from parts) Konstruktion, die

6) in pl.

7) (purpose) Absicht, die

8) (end in view) Ziel, das

1) (draw plan of, sketch) entwerfen; konstruieren, entwerfen [Maschine, Fahrzeug, Flugzeug]

2)

3) (set apart) vorsehen

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Bauplan -¨e m.

Entwurf -¨e m.

Gestaltung f.

Konstruktion f.

Planung -en f. v.

entwerfen v.

konstruieren v.

konzipieren (Technik) v.

planen v.

SUBJECT AREA: Land transport

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In 1816 he was apprenticed to his father, who was a joiner. After a year his abilities in design and construction were so marked that it was decided that he would have more scope as an architect. He was accordingly apprenticed to a Mr Phillips in York, becoming a clerk to Phillips in 1820. While he served his time he also worked on his own account and taught at a night school. In 1825 he married Hannah Glover and settled in Halifax, where he became Assistant to another architect. In 1828 he became a partner of Edward Welch, with whom he built a number of churches in the north of England. He designed the Town Hall for Birmingham and was responsible for the constructional work until 1833, but he had to become bond because the builders caused him to become bankrupt. He was appointed Manager of the business affairs of Dempster Hemming of Caldicote Hall, which included the landed estates, banking and coal-mining. It was during this period that he designed the "Patent Safety Cab" named after him and popular in Victorian days. The safety element consisted in lowering the centre of gravity by the use of the cranked axle. Hansom sold his rights for £10,000 to a company proposing to exploit the patent, but he was never paid, for the company got into difficulties; Hansom became its temporary Manager in 1839 and put matters right, for which he was paid £300, all he ever made out of the Hansom Cab. In 1842 he brought out the first issue of The Builder, but lack of capital caused him to retire from the journal. He devoted himself from then on to domestic and ecclesiastical architecture, designing many churches, colleges, convents and schools all over Britain and even in Australia and South America. Of note is St Walburga's church, Preston, Lancashire, whose spire is 306 ft (93 m) high. At various times he was in partnership with his younger brother, his eldest son, and with E.W.Pugin with whom he had a disagreement. He was a Catholic and much of his work was for the Catholic Church.

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SUBJECT AREA: Architecture and building

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Mansart was a classical architect who designed in High Renaissance style in France. Chief architect to Louis XIII, he was responsible for a number of fine châteaux and hôtels such as the Château de Maisons (1642–51) near Paris and the Hôtel Carnavalet (1660) in Paris. He was also the architect of the magnificent Paris church of Val de Grâce (begun in 1645).

The mansard roof, which has two different slopes of pitch, one steeper than the other, was named after Mansart (with a small change of spelling for euphony). It was a type of roof that was very popular in France from the early seventeenth century onwards and was revived under Napoleon III in the nineteenth century. However, although Mansart popularized this style of roof, he did not invent it; indeed, it was used in earlier works by both Pierre Lescot and Jacques Lemercier.

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1) (a sketch or plan produced before something is made: a design for a dress.) tegning; plan

2) (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.) udformning; design

3) (a pattern etc: The curtains have a flower design on them.) motiv; mønster; design

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan

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- designer

* * *

1) (a sketch or plan produced before something is made: a design for a dress.) tegning; plan

2) (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.) udformning; design

3) (a pattern etc: The curtains have a flower design on them.) motiv; mønster; design

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) plan

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- designer

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, Civil engineering

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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.

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SUBJECT AREA: Architecture and building

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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.

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SUBJECT AREA: Architecture and building, Civil engineering

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Mylne was the eldest son of Thomas Mylne, Surveyor to the City of Edinburgh. Little is known of his early education. In 1754, at the age of 21, he left Edinburgh by sea and journeyed to Rome, where he attended the Academy of St Luke. There he received the first prize for architecture. In 1759 he left Rome to travel back to England, where he arrived in time for the competition then going ahead for the design and building of a new bridge across the Thames at Blackfriars. Against 68 other competitors, Mylne won the competition; the work took some ten years to complete.

In 1760 he was appointed Engineer and Architect to the City of London, and in 1767 Joint Engineer to the New River Company together with Henry Mill, who died within a few years to leave Mylne to become Chief Engineer in 1770. Thus for the next forty years he was in charge of all the works for the New River Company between Clerkenwell and Ware, the opposite ends of London's main water supply. By 1767 he had also been appointed to a number of other important posts, which included Surveyor to Canterbury Cathedral and St Paul's Cathedral. In addition to undertaking his responsibilities for these great public buildings, he designed many private houses and villas all over the country, including several buildings for the Duke of Argyll on the Inverary Castle estate.

Mylne was also responsible for the design of a great number of bridges, waterworks and other civil engineering works throughout Britain. Called in to advise on the Norwich city waterworks, he fell out with Joseph Bramah in a somewhat spectacular dispute.

For much of his life Mylne lived at the Water House at the New River Head at Islington, from which he could direct much of the work on that waterway that came under his supervision. He also had residences in New Bridge Street and, as Clerk of Works, at Greenwich Hospital. Towards the end of his life he built himself a small house at Amwell, a country retreat at the outer end of the New River. He kept a diary from 1762 to 1810 which includes only brief memoranda but which shows a remarkable diligence in travelling all over the country by stagecoach and by postchaise. He was a freemason, as were many of his family; he married Mary Home on 10 September 1770, with whom he had ten children, four of whom survived into adulthood.

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1) (idea, conception) progettazione f., concezione f.

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)

5) (art) design m.; (fashion) disegno m. di moda

6) (decorative pattern) motivo m.

7) (intention) disegno m., intenzione f. ( to do di fare)

1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]

2) (intend)

3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment]

* * *

1) (a sketch or plan produced before something is made: a design for a dress.) disegno

2) (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, progettazione

3) (a pattern etc: The curtains have a flower design on them.) disegno

4) (a plan formed in the mind; (an) intention: Our holidays coincided by design and not by accident.) proposito

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- designer

* * *

1) (idea, conception) progettazione f., concezione f.

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)

5) (art) design m.; (fashion) disegno m. di moda

6) (decorative pattern) motivo m.

7) (intention) disegno m., intenzione f. ( to do di fare)

1) (conceive) progettare, concepire [appliance, building]; disegnare [ garment]

2) (intend)

3) (draw plan for) disegnare il progetto di [building, appliance]; [ designer] creare [costume, garment]

(1897-1948)

   Architect, artist, musician, photographer, illustrator, and filmmaker. Trained at the Escola de Belas-Artes, Lisbon, he produced the classic film A Canção de Lisboa (Song of Lisbon). Although best known for his extraordinary architectural creations, he was also a musician, dancer, and photographer, and it was Cottinelli Telmo who introduced the newspaper cartoon ( banda desenhada) to Portugal. A visionary creator and organizer, he pioneered the notion of the "garden-city" in Lisbon. While he was employed by the Portuguese railroads, he designed train stations and other structures, including several in Lisbon, Campolide, and Caçém.

   His most memorable contribution was work at the massive 1940 Exposition of the Portuguese World at Belém, a kind of world's fair that opened in the weeks before the fall of France in June 1940. The centerpiece of this exposition, in what is now the Praça do Império and fronting on the Monastery of Jerônimos, was the Pavilion of the Portuguese in the World. Named chief architect by Minister of Public Works Duarte Pacheco, Cottinelli Telmo gathered around him a stellar array of the country's finest architects and artists of their generation. Other major projects were buildings in Belém, the Sanctuary at Fátima, the Catholic shrine, and Coimbra's University City.

SUBJECT AREA: Architecture and building, Civil engineering

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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.

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SUBJECT AREA: Ports and shipping

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After graduating in 1935 from the Webb Institute of Naval Architecture, New York, Henry served in different government agencies until 1938 when he joined the fast expanding US Maritime Commission. He assisted in the design and construction of troop-carrying vessels, Cl cargo ships, and he supervised the construction of two wartime attack transports. At the end of hostilities, he set up as a consultant naval architect and by 1951 had incorporated the business as J.J.Henry \& Company Inc. The opportunities that consultancy gave him were grasped eagerly; he became involved in the conversion of war-built tonnage to peaceful purposes (such as T2 tankers to ore carriers), the development of the new technologies of the carriage of liquefied gases at cryogenic temperatures and low pressures and, possibly the greatest step forward of all, the development of containerization. Containerization and the closely related field of barge transportation were to provide considerable business during the 1960s and the 1970s. The company designed the wonderful 33-knot container ships for Sea-Land and the auspicious Sea-bee barge carriers for the Lykes Brothers of New Orleans. James Henry's professional achievements were recognized internationally when he was elected President of the (United States) Society of Naval Architects and Marine Engineers in 1969. By then he had served on many boards and committees and was especially honoured to be Chairman of the Board of Trustees of his graduating college, the Webb Institute of Naval Architecture of New York.