form reinforced concrete

* * *

закла́дывать что-л. в железобето́н — embed smth. in reinforced concrete

пропа́ривать железобето́н — cure reinforced concrete by steam

уплотня́ть железобето́н — compact reinforced concrete

формова́ть железобето́н — form reinforced concrete

жаросто́йкий железобето́н — refractory reinforced concrete

лё́гкий железобето́н — light-weight reinforced concrete

железобето́н на лё́гких заполни́телях — light-weight aggregate reinforced concrete

предвари́тельно напряжё́нный железобето́н — prestressed reinforced concrete

сбо́рный железобето́н — prefabricated [precast] reinforced concrete

железобето́н с перекрё́стной армату́рой — two-way reinforced concrete

тяжё́лый железобето́н — heavy reinforced concrete

яче́истый железобето́н — wire-mesh reinforced concrete

* * *

SUBJECT AREA: Architecture and building, Civil engineering

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Nervi early established a reputation in the use of reinforced concrete with his stadium in Florence (1930–2). This elegant concrete structure combines graceful curves with functional solidity and is capable of seating some 35,000 spectators. The stadium was followed by the aircraft hangars built for the Italian Air Force at Orvieto and Ortebello, in which he spanned the vast roofs of the hangars with thin-shelled vaults supported by precast concrete beams and steel-reinforced ribs. The structural strength and subtle curves of these ribbed roofs set the pattern for Nervi's techniques, which he subsequently varied and elaborated on to solve problems that arose in further commissions.

Immediately after the Second World War Italy was short of supplies of steel for structural purposes so, in contrast to the USA, Britain and Germany, did not for some years construct any quantity of steel-framed rectangular buildinngs used for offices, housing or industrial use. It was Nervi who led the way to a ferroconcrete approach, using a new type of structure based on these materials in the form of a fine steel mesh sprayed with cement mortar and used to roof all kinds of structures. It was a method that resulted in expressionist curves instead of rectangular blocks, and the first of his great exhibition halls at Turin (1949), with a vault span of 240 ft (73 m), was an early example of this technique. Nervi continued to create original and beautiful ferroconcrete structures of infinite variety: for example, the hall at the Lido di Roma, Ostia; the terme at Chianciano; and the three buildings that he designed for the Rome Olympics in 1960. The Palazzetto dello Sport is probably the most famous of these, for which he co-operated with the architect Annibale Vitellozzi to construct a small sports palace seating 5,000 spectators under a concrete "big top" of 194 ft (59 m) diameter, its enclosing walls supported by thirtysix guy ropes of concrete; inside, the elegant roof displays a floral quality. In 1960 Nervi returned to Turin to build his imaginative Palace of Labour for the centenary celebrations of Garibaldi and Victor Emmanuel in the city. This vast hall, like the Crystal Palace in England a century earlier (see Paxton), had to be built quickly and be suitable for later adaptation. It was therefore constructed partly in steel, and the metal supporting columns rose to palm-leaf capitals reminiscent of those in ancient Nile palaces.

Nervi's aim was always to create functional buildings that simultaneously act by their aesthetic qualities as an effective educational influence. Functionalism for Nervi never became "brutalism". In consequence, his work is admired by the lay public as well as by architects. He collaborated with many of the outstanding architects of the day: with Gio Ponti on the Pirelli Building in Milan (1955–9); with Zehrfuss and Breuer on the Y-plan UNESCO Building in Paris (1953–7); and with Marcello Piacentini on the 16,000-seat Palazzo dello Sport in Rome. Nervi found time to write a number of books on building construction and design, lectured in the Universities of Rio de Janiero and Buenos Aires, and was for many years Professor of Technology and Technique of Construction in the Faculty of Architecture at the University of Rome. He continued to design new structures until well into the 1970s.

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n < bau> (allg.; jede Form) ■ precast reinforced compound unit; prefabricated RC compound unit; precast reinforced concrete compound unit; precast reinforced concrete unit

n < bau> (zum Tübbing-Ausbau von Tunnels; aus Beton) ■ concrete preform; tunnel lining segment; tunnel segment rare ; tubbing rare

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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SUBJECT AREA: Architecture and building, Domestic appliances and interiors

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Breuer began his student days following an art course in Vienna, but joined the Bauhaus at Weimar, where he later graduated, in 1920. When Gropius re-established the school in purpose-built structures at Dessau, Breuer became a member of the teaching staff in charge of the carpentry and furniture workshops. Much of his time there was spent in design and research into new materials being applied to furniture and interior decoration. The essence of his contribution was to relate the design of furniture to industrial production; in this field he developed the tubular-steel structure, especially in chair design, and experimented with aluminium as a furniture material as well as pieces of furniture made up from modular units. His furniture style was characterized by an elegance of line and a careful avoidance of superfluous detail. By 1926 he had furnished the Bauhaus with such furniture in chromium-plated steel, and two years later had developed a cantilevered chair.

Breuer left the Bauhaus in 1928 and set up an architectural practice in Berlin. In the early 1930s he also spent some time in Switzerland. Notable from these years was his Harnischmacher Haus in Wiesbaden and his apartment buildings in the Dolderthal area of Zurich. His architectural work was at first influenced by constructivism, and then by that of Le Corbusier (see Charles-Edouard Jeanneret). In 1935 he moved to England, where in partnership with F.R.S. Yorke he built some houses and continued to practise furniture design. The Isokon Furniture Co. commissioned him to develop ideas that took advantage of the new bending and moulding processes in laminated wood, one result being his much-copied reclining chair.

In 1937, like so many of the European architectural refugees from Nazism, he found himself under-occupied due to the reluctance of English clients to embrace the modern architectural movement. He went to the United States at Gropius's invitation to join him as a professor at Harvard. Breuer and Gropius were influential in training a new generation of American architects, and in particular they built a number of houses. This partnership ended in 1941 and Breuer set up practice in New York. His style of work from this time on was still modern, but became more varied. In housing, he adapted his style to American needs and used local materials in a functional manner. In the Whitney Museum (1966) he worked in a sculptural, granite-clad style. Often he utilized a bold reinforced-concrete form, as in his collaboration with Pier Luigi Nervi and Bernard Zehrfuss in the Paris UNESCO Building (1953–8) and the US Embassy in the Hague (1954–8). He displayed his masterly handling of poured concrete used in a strikingly expressionistic, sculptural manner in his St John's Abbey (1953–61) in Collegeville, Minnesota, and in 1973 his Church of St Francis de Sale in Michigan won him the top award of the American Institute of Architects.

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m; -s, -

1. von Lasten: carrier, bearer; (Gepäckträger) porter; einer Tragbahre: stretcher-bearer

2. einer Brille, von Kleidung etc.: wearer

3. fig. eines Namens, Titels: bearer ( SPORT holder); einer Idee: upholder, champion; (Institution) responsible authority, body responsible for s.th.; (Treuhänder) (body of) trustees Pl.; (Förderer) sponsor(s Pl.), sponsoring body

4. an Kleidung: (shoulder) strap; Hosenträger

5. TECH. support, bracket; ARCHIT. supporting beam; (Eisenlängsträger) girder

6. ein Träger Bier a crate (Am. case) of beer

* * *

(Inhaber) bearer;

(Person) porter;

(Stütze) support; bracket; supporter; carrier;

(an Kleidungsstücken) strap

* * *

m -s, -

1) (an Kleidung) strap; (= Hosenträger) braces pl (Brit), suspenders pl (US)

2) (BUILD) (= Holzträger, Betonträger) (supporting) beam; (= Stahlträger, Eisenträger) girder

3) (TECH = Stütze von Brücken etc) support

4) (= Flugzeugträger) carrier

5) (BIOL von Gen) carrier

6) (von Sozialeinrichtung) provider

7) (= Kostenträger) funding provider

1. m -s, -,Trä́|ge|rin

2. f -, -nen

1) (von Lasten) bearer, porter; (von Namen) bearer; (von Orden, Amt, Titel) bearer, holder; (von Kleidung) wearer; (eines Preises) winner; (von Krankheit, Gen) carrier

2) (fig) (der Kultur, Staatsgewalt etc) representative; (einer Bewegung, Entwicklung) upholder, supporter; (einer Veranstaltung) sponsor; (Mittel) vehicle

* * *

1) (a person or thing that bears: the bearer of bad news.) bearer

2) (a person whose job is to carry things eg in rough country where there is no other form of transport: He set off into the jungle with three porters.) porter

* * *

1. meist pl MODE strap; Hose braces npl BRIT, suspenders npl AM

2. BAU (Stahlträger) girder

3. CHEM carrier

1. (Lastenträger) porter

2. (Inhaber) bearer

3. ADMIN (verantwortliche Körperschaft) responsible body; JUR agency, legally and economically responsible body

die Kommunen sind die \Träger der öffentlichen Schulen the local authorities are responsible for public schools

\Träger öffentlicher Gewalt agencies in whom state power is vested

* * *

1) porter; (SänftenTräger, SargTräger) bearer

2) (ZeitungsTräger) paper boy/girl; delivery boy/girl

3) (Bauw.) girder; [supporting] beam

4) (an Kleidung) strap; (HosenTräger) braces pl.

5) (Inhaber) (eines Amts) holder; (eines Namens, Titels) bearer; (eines Preises) winner

6) (fig.): (Urheber, treibende Kraft) moving force

7) (fig.): (Unterhalter)

8) (fig.): (einer Substanz, eines Erregers usw.) carrier

9) (FlugzeugTräger) carrier

10) (jemand, der etwas als Kleidung, Schmuck usw. trägt) wearer

* * *

…träger m im subst

1. im wörtl Sinn:

Möbelträger furniture remover, removal man, US mover

2. am Körper:

Jeansträger jeans wearer;

Toupetträger hairpiece wearer;

Ordensträger medal(l)ist

3. (Gepäckträger etc):

Bootsträger (boat-)cradle; (Anhänger) boat-trailer;

Dachträger roof-rack;

Flaschenträger bottle-carrier ( oder -rack)

4. TECH:

Betonträger (reinforced) concrete support(ing beam) ( oder girder);

Brückenträger bridge girder

5. (Institution):

Kostenträger provider, funding body ( oder authority);

Krankenhausträger hospital trust

6. (Medium):

Informationsträger information medium;

Bedeutungsträger in einem Text etc: semantically important element

* * *

1) porter; (SänftenTräger, SargTräger) bearer

2) (ZeitungsTräger) paper boy/girl; delivery boy/girl

3) (Bauw.) girder; [supporting] beam

4) (an Kleidung) strap; (HosenTräger) braces pl.

5) (Inhaber) (eines Amts) holder; (eines Namens, Titels) bearer; (eines Preises) winner

6) (fig.): (Urheber, treibende Kraft) moving force

7) (fig.): (Unterhalter)

8) (fig.): (einer Substanz, eines Erregers usw.) carrier

9) (FlugzeugTräger) carrier

10) (jemand, der etwas als Kleidung, Schmuck usw. trägt) wearer

* * *

bearer n.

carrier n.

porter n.

supporter n.

wearer n.

* * *

1. маш. ( штампа) die; ( сплава) matrix

2. мат. matrix

ма́трица m на n — an m -by-n matrix

обраща́ть ма́трицу — invert a matrix

транспони́ровать ма́трицу — transpose a matrix

умножа́ть ма́трицу сле́ва — multiply a matrix on the left, premultiply a matrix, multiply a matrix by writing the multiplier before the matrix

умножа́ть ма́трицу спра́ва — multiply a matrix on the right postmultiply a matrix, multiply a matrix by writing the multiplier after the matrix

3. вчт. plane, matrix

4. полигр. mat, mould; matrix, die

5. ( алмазной коронки) геол. matrix

ма́трица без повторе́ния — non-recurrent matrix

брикетиро́вочная ма́трица с.-х. — briquetting die

бу́лева ма́трица — Boolean matrix

волочи́льная ма́трица — drawing die

ма́трица вы́борки на (ферри́товых) серде́чниках — selection core matrix

ма́трица вы́пуска — output matrix

вычисли́тельная ма́трица — computing matrix

ги́псовая ма́трица — plaster mould

грани́чная ма́трица — boundary matrix

дешифра́торная ма́трица — decoder matrix

дио́дная ма́трица — diode matrix

диспе́рсная ма́трица — dispersion matrix

едини́чная ма́трица — identity [unit] matrix

железобето́нная ма́трица — reinforced concrete jig

ма́трица запомина́ющего устро́йства — memory plane, memory matrix

ма́трица запомина́ющего устро́йства на серде́чниках — core plane, plane matrix

ма́трица имми́тансов элк. — immittance matrix

ма́трица като́дной осно́вы ( для электролиза меди) — blank of a starting sheet

квадра́тная ма́трица — square [mmm] matrix

кле́точная ма́трица — array, tableau

коди́рующая ма́трица — encoder matrix

ко́мплексная ма́трица — complex matrix

ко́мплексно-сопряжё́нная ма́трица — adjoint matrix

корреляцио́нная ма́трица — correlation matrix

кососимметри́чная ма́трица — skew-symmetric matrix

ма́трица коэффицие́нтов — matrix of coefficients

линоти́пная ма́трица — linotype matrix

логи́ческая кре́мниевая ма́трица — silicon-diode logic matrix

ма́трица магни́тного запомина́ющего устро́йства — magnetic memory matrix [plane]

моноти́пная ма́трица — monotype matrix

ма́трица на ферри́товых серде́чниках — magnetic core matrix [plane]

неосо́бенная ма́трица — non-singular matrix

несо́бственная ма́трица — improper matrix

обрати́мая ма́трица — invertible matrix

обра́тная ма́трица — inverse [reciprocal] matrix

ортогона́льная ма́трица — orthogonal matrix

осо́бенная ма́трица — singular matrix

ма́трица оши́бок — error matrix

ма́трица па́мяти — memory matrix

ма́трица па́мяти, изгото́вленная ме́тодом проши́вки — woven wire memory matrix, woven wire memory plane

переключа́тельная ма́трица — switching matrix

ма́трица перехо́да — transition (probability) matrix, matrix of transition probabilities

платё́жная ма́трица ( в теории игр) — pay-off matrix

подвесна́я ма́трица полигр. — pi matrix

подо́бные ма́трицы — similar matrices

ма́трица по́лной проводи́мости элк. — admittance matrix

ма́трица по́лных сопротивле́ний элк. — impedance matrix

положи́тельно определё́нная ма́трица мат. — positive definite matrix

ма́трица п [m2]-го поря́дка — matrix of order n

ма́трица преобразова́ния — transformation matrix

присоединё́нная ма́трица — adjugate matrix

ма́трица приспособле́ния — adaptation matrix

прове́рочная ма́трица — partly-check matrix

произво́дная ма́трица — derivative matrix

производя́щая ма́трица — generator matrix

пускова́я ма́трица косм. — launching matrix

пуста́я ма́трица полигр. — flat type matrix

ма́трица разме́рности mmn — m by n matrix, mxn matrix, an array of size mxn

ма́трица рассе́яния — scattering matrix

расши́ренная ма́трица — augmented matrix

самосопряжё́нная ма́трица — self-conjugated matrix

сигна́льная ма́трица тлв. — signal matrix

симметри́чная ма́трица — symmetric(al) matrix

сингуля́рная ма́трица — singular matrix

ма́трица систе́мы, переда́точная — system transfer matrix

сопряжё́нная ма́трица — adjoint of a matrix

составна́я ма́трица

1. маш. sectional [split] die

2. мат. composite matrix

стальна́я ма́трица полигр. — steel matrix

ма́трица с m столбца́ми — m -column matrix

ма́трица с n строка́ми — n -rowed matrix

стохасти́ческая ма́трица — stochastic matrix

структу́рная ма́трица — structural matrix

транспони́рованная ма́трица — transpose of a matrix, transposed matrix

унимода́льная ма́трица — unimodal matrix

унимодуля́рная ма́трица — unimodular matrix

унита́рная ма́трица — unitary matrix

ферри́товая ма́трица — magnetic core matrix [plane]

ферри́товая ма́трица с лине́йной вы́боркой — linear [word] selection core matrix, word-organized core matrix [plane]

ферри́товая ма́трица с пло́ской вы́боркой — plane-selection [bit-organized] core matrix [plane]

характеристи́ческая ма́трица — characteristic matrix

цветна́я ма́трица тлв. — colour matrix

целлуло́идная ма́трица — celluloid mould

ма́трица це́пи эл. — circuit matrix

шифра́торная ма́трица — encoder matrix

эквивале́нтные ма́трицы — equivalent matrices

эрми́това ма́трица — Hermitian matrix

эрми́тово-сопряжё́нная ма́трица — Hermitian conjugate matrix

этало́нная ма́трица — master die

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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