famous+for+its+marble

SUBJECT AREA: Agricultural and food technology

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He was the fifth child of Charles and Ann Stalcrop Evans, and by the age of 15 he had four sisters and seven brothers. Nothing is known of his schooling, but at the age of 17 he was apprenticed to a Newport wheelwright and wagon-maker. At 19 he was enrolled in a Delaware Militia Company in the Revolutionary War but did not see active service. About this time he invented a machine for bending and cutting off the wires in textile carding combs. In July 1782, with his younger brother, Joseph, he moved to Tuckahoe on the eastern shore of the Delaware River, where he had the basic idea of the automatic flour mill. In July 1782, with his elder brothers John and Theophilus, he bought part of his father's Newport farm, on Red Clay Creek, and planned to build a mill there. In 1793 he married Sarah Tomlinson, daughter of a Delaware farmer, and joined his brothers at Red Clay Creek. He worked there for some seven years on his automatic mill, from about 1783 to 1790.

His system for the automatic flour mill consisted of bucket elevators to raise the grain, a horizontal screw conveyor, other conveying devices and a "hopper boy" to cool and dry the meal before gathering it into a hopper feeding the bolting cylinder. Together these components formed the automatic process, from incoming wheat to outgoing flour packed in barrels. At that time the idea of such automation had not been applied to any manufacturing process in America. The mill opened, on a non-automatic cycle, in 1785. In January 1786 Evans applied to the Delaware legislature for a twenty-five-year patent, which was granted on 30 January 1787 although there was much opposition from the Quaker millers of Wilmington and elsewhere. He also applied for patents in Pennsylvania, Maryland and New Hampshire. In May 1789 he went to see the mill of the four Ellicot brothers, near Baltimore, where he was impressed by the design of a horizontal screw conveyor by Jonathan Ellicot and exchanged the rights to his own elevator for those of this machine. After six years' work on his automatic mill, it was completed in 1790. In the autumn of that year a miller in Brandywine ordered a set of Evans's machinery, which set the trend toward its general adoption. A model of it was shown in the Market Street shop window of Robert Leslie, a watch-and clockmaker in Philadelphia, who also took it to England but was unsuccessful in selling the idea there.

In 1790 the Federal Plant Laws were passed; Evans's patent was the third to come within the new legislation. A detailed description with a plate was published in a Philadelphia newspaper in January 1791, the first of a proposed series, but the paper closed and the series came to nothing. His brother Joseph went on a series of sales trips, with the result that some machinery of Evans's design was adopted. By 1792 over one hundred mills had been equipped with Evans's machinery, the millers paying a royalty of $40 for each pair of millstones in use. The series of articles that had been cut short formed the basis of Evans's The Young Millwright and Miller's Guide, published first in 1795 after Evans had moved to Philadelphia to set up a store selling milling supplies; it was 440 pages long and ran to fifteen editions between 1795 and 1860.

Evans was fairly successful as a merchant. He patented a method of making millstones as well as a means of packing flour in barrels, the latter having a disc pressed down by a toggle-joint arrangement. In 1801 he started to build a steam carriage. He rejected the idea of a steam wheel and of a low-pressure or atmospheric engine. By 1803 his first engine was running at his store, driving a screw-mill working on plaster of Paris for making millstones. The engine had a 6 in. (15 cm) diameter cylinder with a stroke of 18 in. (45 cm) and also drove twelve saws mounted in a frame and cutting marble slabs at a rate of 100 ft (30 m) in twelve hours. He was granted a patent in the spring of 1804. He became involved in a number of lawsuits following the extension of his patent, particularly as he increased the licence fee, sometimes as much as sixfold. The case of Evans v. Samuel Robinson, which Evans won, became famous and was one of these. Patent Right Oppression Exposed, or Knavery Detected, a 200-page book with poems and prose included, was published soon after this case and was probably written by Oliver Evans. The steam engine patent was also extended for a further seven years, but in this case the licence fee was to remain at a fixed level. Evans anticipated Edison in his proposal for an "Experimental Company" or "Mechanical Bureau" with a capital of thirty shares of $100 each. It came to nothing, however, as there were no takers. His first wife, Sarah, died in 1816 and he remarried, to Hetty Ward, the daughter of a New York innkeeper. He was buried in the Bowery, on Lower Manhattan; the church was sold in 1854 and again in 1890, and when no relative claimed his body he was reburied in an unmarked grave in Trinity Cemetery, 57th Street, Broadway.

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SUBJECT AREA: Architecture and building

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Mies van der Rohe was the son of a stonemason and his early constructional training came from his father. As a young man he gained experience of the modern school from study of the architecture of the earlier leaders, notably Peter Behrens, Hendrik Berlage and Frank Lloyd Wright. He commenced architectural practice in 1913 and soon after the First World War was establishing his own version of modern architecture. His building materials were always of the highest quality, of marble, stone, glass and, especially, steel. He stripped his designs of all extraneous decoration: more than any of his contemporaries he followed the theme of elegance, functionalism and an ascetic concentration on essentials. He believed that architectural design should not look backwards but should reflect the contemporary achievement of advanced technology in both its construction and the materials used, and he began early in his career to act upon these beliefs. Typical was his early concrete and glass office building of 1922, after which, more importantly, came his designs for the German Pavilion at the Barcelona Exposition of 1929. These designs included his famous Barcelona chair, made from chrome steel and leather in a geometrical design, one which has survived as a classic and is still in production. Another milestone was his Tugendhat House in Brno (1930), a long, low, rectilinear structure in glass and steel that set a pattern for many later buildings of this type. In 1930 Mies followed his colleagues as third Director of the Bauhaus, but due to the rise of National Socialism in Germany it was closed in 1933. He finally left Germany for the USA in 1937, and the following year he took up his post as Director of Architecture in Chicago at what is now known as the Illinois Institute of Technology and where he remained for twenty years. In America Mies van der Rohe continued to develop his work upon his original thesis. His buildings are always recognizable for their elegance, fine proportions, high-quality materials and clean, geometrical forms; nearly all are of glass and steel in rectangular shapes. The structure and design evolved according to the individual needs of each commission, and there were three fundamental types of design. One type was the single or grouped high-rise tower, built for apartments for the wealthy, as in his Lake Shore Drive Apartments in Chicago (1948–51), or for city-centre offices, as in his Seagram Building in New York (1954–8, with Philip Johnson) or his Chicago Federal Centre (1964). Another form was the long, low rectangle based upon the earlier Tugendhat House and seen again in the New National Gallery in Berlin (1965–8). Third, there were the grouped schemes when the commission called for buildings of varied purpose on a single, large site. Here Mies van der Rohe achieved a variety and interest in the different shapes and heights of buildings set out in spatial harmony of landscape. Some examples of this type of scheme were housing estates (Lafayette Park Housing Development in Detroit, 1955–6), while others were for educational, commercial or shopping requirements, as at the Toronto Dominion Centre (1963–9).

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m shine, lustre, AE luster

fig prestige

( periodo) five-year period

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lustro¹ agg.

1 (lucido) bright, shining; glowing; glossy: occhi lustri di febbre, eyes bright with fever; il mio cane ha il pelo lustro, my dog has a glossy coat

2 (lucidato) polished; shiny: una superficie lustra, a shiny (o polished) surface; le tue scarpe sono così lustre che sembrano nuove, your shoes are so shiny that they look new

◆ s.m.

1 (lucentezza) shine, brilliance, gloss; lustre; sheen: questo mobile, questa lastra di marmo ha perso il lustro, this piece of furniture, this marble top has lost its shine (o sheen) // la sua casa è sempre tirata a lustro, her home is always spick and span

2 (prestigio) lustre, splendour; fame; prestige: opere che hanno dato lustro al suo nome, works which have made his name famous; portò grande lustro all'università, he brought great prestige to (o shed lustre on) the University // è il lustro della famiglia, he's the pride of the family.

lustro² s.m.

1 (spazio di cinque anni) five-year period: visse dieci lustri, he lived for fifty years

2 (st. romana) lustrum*.

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1. agg

(superficie) shiny, (capelli, pelo) glossy, (occhi) moist

2. sm

1) shine, gloss

2) (fig : gloria) prestige, glory

3) (quinquennio) five-year period

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aggettivo [ pavimento] shiny, polished, spick-and-span

sostantivo maschile

1) (lucentezza) shine, sheen, lustre BE, luster AE

2) (prestigio)

sostantivo maschile lett. (quinquennio) five-year period

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/'lustro/

I aggettivo

 [ pavimento] shiny, polished, spick-and-span

II sostantivo maschile

 1 (lucentezza) shine, sheen, lustre BE, luster AE

 2 (prestigio) dare lustro a qcs. to glamorize sth., to bring prestige to sth.

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/'lustro/

sostantivo m.

lett. (quinquennio) five-year period.