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21 возрождение классического стиля
Architecture: Greek revival (обращение к античным древнегреческим образцам и аналогам в эпоху классицизма; стиля Древней Греции)Универсальный русско-английский словарь > возрождение классического стиля
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22 греческая амфора
Architecture: Greek vase -
23 греческая ваза
Architecture: Grecian urn, Greek vase -
24 греческий крест
Architecture: Greek cross (равноплечий) -
25 древнегреческая дорическая капитель
Architecture: Greek Doric capitalУниверсальный русско-английский словарь > древнегреческая дорическая капитель
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26 древнегреческий профиль
Architecture: old Greek mouldingУниверсальный русско-английский словарь > древнегреческий профиль
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27 неогреческий архитектурный стиль
Architecture: neo-greek styleУниверсальный русско-английский словарь > неогреческий архитектурный стиль
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28 ново-античный архитектурный стиль
Architecture: neo-greek styleУниверсальный русско-английский словарь > ново-античный архитектурный стиль
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29 Vitruvius Pollio
SUBJECT AREA: Architecture and building[br]b. early first century BCd. c. 25 BC[br]Roman writer on architecture and engineering subjects.[br]Nothing is known of Vitruvius apart from what can be gleaned from his only known work, the treatise De architectura. He seems to have been employed in some capacity by Julius Caesar and continued to serve under his heir, Octavianus, later Emperor Augustus, to whom he dedicated his book. It was written towards the end of his life, after Octavianus became undisputed ruler of the Empire by his victory at Actium in 31 BC, and was based partly on his own experience and partly on earlier, Hellenistic, writers.The De architectura is divided into ten books. The first seven books expound the general principles of architecture and the planning, design and construction of various types of building, public and domestic, including a consideration of techniques and materials. Book 7 deals with interior decoration, including stucco work and painting, while Book 8 treats water supply, from the location of sources to the transport of water by aqueducts, tunnels and pipes. Book 9, after a long and somewhat confused account of the astronomical theories of the day, describes various forms of clock and sundial. Finally, Book 10 deals with mechanical devices for handling building materials and raising and pumping water, for which Vitruvius draws on the earlier Greek authors Ctesibius and Hero.Although this may seem a motley assembly of subjects, to the Roman architect and builder it was a logical compendium of the subjects he was expected to know about. At the time, Vitruvius' rigid rules for the design of buildings such as temples seem to have had little influence, but his accounts of more practical matters of building materials and techniques were widely used. His illustrations to the original work were lost in antiquity, for no later manuscript includes them. Through the Middle Ages, manuscript copies were made in monastic scriptoria, although the architectural style in vogue had little relevance to those in Vitruvius: these came into their own with the Italian Renaissance. Alberti, writing the first great Renaissance treatise on architecture from 1452 to 1467, drew heavily on De architectura; those who sought to revive the styles of antiquity were bound to regard the only surviving text on the subject as authoritative. The appearance of the first printed edition in 1486 only served to extend its influence.During the sixteenth and seventeenth centuries, Vitruvius was used as a handbook for constructing machines and instruments. For the modern historian of technology and architecture the work is a source of prime importance, although it must be remembered that the illustrations in the early printed editions are of contemporary reproductions of ancient devices using the techniques of the time, rather than authentic representations of ancient technology.[br]BibliographyOf the several critical editions of De architectura there are the Teubner edition, 1899. ed. V.Rose, Leipzig; the Loeb Classical Library edition, 1962, ed. F.Granger, London: Heinemann, (with English trans. and notes); and the Collection Guillaume Budé with French trans. and full commentary, 10 vols, Paris (in progress).Further ReadingApart from the notes to the printed editions, see also: H.Plommer, 1973, Vitruvius and Later Roman Building Manuals, London. A.G.Drachmann, 1963, The Mechanical Technology of Greek and Roman Antiquity Copenhagen and London.S.L.Gibbs, 1976, Greek and Roman Sundials, New Haven and London.LRD -
30 Soane, Sir John
SUBJECT AREA: Architecture and building[br]b. 20 September 1753 Whitchurch, Englandd. 20 January 1837 London, England[br]English architect whose highly personalized architectural style foreshadowed the modern architecture of a century later.[br]Between 1777 and 1780 Soane studied in Italy on a Travelling Scholarship, working in Rome but also making extensive excursions further south to Paestum and Sicily to study the early and more severely simple Greek temples there.His architectural career began in earnest with his appointment as Surveyor to the Bank of England in 1788. He held this post until 1833 and during this time developed his highly individual style, which was based upon a wide range of classical sources extending from early Greek to Byzantine themes. His own work became progressively more linear and austere, his domes and arches shallower and more segmental. During the 1790s and early 1800s Soane redesigned several halls in the Bank, notably the Bank Stock Office, which in 1791 necessitated technological experimentation.The redesigning was required because of security problems which limited window openings to high-level positions and a need for fireproof construction because the site was so restricted. Soane solved the difficulties by introducing light through lunettes set high in the walls and through a Roman-style oculus in the centrally placed shallow dome. He utilized hollow terracotta pots as a lightweight material in the segmental vaulting.Sadly, the majority of Soane's work in the Bank interior was lost in the rebuilding during the 1930s, but Soane went on to develop his architectural style in his houses and churches as well as in a quantity of public buildings in Whitehall and Westminster.[br]Principal Honours and DistinctionsKnighted 1831. Fellow Society of Antiquaries 1795. RA 1802. Royal Academy Professor of Architecture 1806. FRS 1821.Further ReadingSir John Summerson, 1952, Sir John Soane, 1753–1837, Art and Technics. Dorothy Stroud, 1961, The Architecture of Sir John Soane, Studio.DY -
31 de líneas rectas
(adj.) = straight-lineEx. Hidden away in lairs behind the chaotic jumble of facades of all styles from stately Greek classical to the severe straight-line school of modern architecture, a thousand businesses plied their mysteries.* * *(adj.) = straight-lineEx: Hidden away in lairs behind the chaotic jumble of facades of all styles from stately Greek classical to the severe straight-line school of modern architecture, a thousand businesses plied their mysteries.
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32 guarida
f.1 lair.2 haunt, hideout.3 den, lair.4 refuge, shelter, hangout, hang-out.5 crash pad, free place to sleep or live temporarily.* * *1 ZOOLOGÍA haunt, den, lair2 peyorativo (refugio) hide-out* * *noun f.* * *SF1) [de animales] den, hideout; [de persona] haunt, hideout2) (fig) refuge, shelter; (=amparo) cover* * ** * *= lair, hideout.Ex. Hidden away in lairs behind the chaotic jumble of facades of all styles from stately Greek classical to the severe straight-line school of modern architecture, a thousand businesses plied their mysteries.Ex. Seditious books continued to appear, nevertheless, both from secret presses in England moving furtively from hideout to hideout.----* guarida del león, la = lion's den, the.* * ** * *= lair, hideout.Ex: Hidden away in lairs behind the chaotic jumble of facades of all styles from stately Greek classical to the severe straight-line school of modern architecture, a thousand businesses plied their mysteries.
Ex: Seditious books continued to appear, nevertheless, both from secret presses in England moving furtively from hideout to hideout.* guarida del león, la = lion's den, the.* * *(de animales) den, lair; (de personas) hideout* * *
guarida sustantivo femenino ( de animales) den, lair;
( de personas) hideout
guarida sustantivo femenino
1 (de animal) lair
2 (de criminales) hide-out
' guarida' also found in these entries:
Spanish:
nido
English:
den
- haunt
- hide-out
- lair
- hide
* * *guarida nf1. [de animal] lair2. [escondite] hideout* * *f1 ZO den2 de personas hide-out* * *guarida nf1) : den, lair2) : hideout* * *guarida n1. (de animales) den2. (de personas) hide out -
33 Apollonius of Perga
SUBJECT AREA: Architecture and building[br]b. c.240 BC Perga, Pamphylia, Greeced. 190 BC[br]Greek mathematician, geometer and astronomer.[br]Ruins of the ancient Greek city of Perga lie near to the Turkish town of Murtana, just inland from Antalya on the southern coast of Asia Minor. Apollonius, while quite young, went to Alexandria to study under the successors to Euclid. He also worked in Ephesus and Pergamum. He later carried out original studies into the geometrical proportions of conic sections, producing his famous work Conies and naming the ellipse, the parabola and the hyperbola. Conics, which appeared soon after 200 BC, consisted of eight treatises and earned him the name "the great geometer", given to him by his contemporaries. Seven of the eight treatises have survived, four in the original Greek and three in Arabic translation; a Latin translation was edited by Halley in 1710. Apollonius also published works on the cylindrical helix and theories of the epicycles and eccentrics, with reference to the motion of the planets.[br]Further ReadingG.J.Toomer, Apollonius: Conies, Berlin: Springer Verlag.DY -
34 крестово-купольный храм
1) Religion: Greek-cross plan (Church plan in the form of a Greek cross, with a square central mass and four arms of equal length)2) Architecture: cross-domed churchУниверсальный русско-английский словарь > крестово-купольный храм
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35 grecque
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36 πύλη
Grammatical information: f.Meaning: `wing of a door, gate', mostly in plur. `door, gate', esp. of town-gates, gates of an camp a. the like (Il.); `entrance, access, bottleneck etc.', also as PlN (Pi., Emp., IA.).Compounds: Several compp., e.g. πυλ-άρτης m. `gate-closer', adjunct of Hades, also as PN (Hom.), to ἀρ- in ἀραρίσκω (s.v.) with univerbating τη-suffix (Bechtel Lex. s.v., Fraenkel Nom. ag. 1. 31 w. n. 2); πυλ-ωρός, ep. πυλᾰ-ωρός, Hdt. πυλ-ουρός, H. πυλ-αυρός (Dor.), - ευρός (Ion.) `gate-keeper, guard' (Il.); on the comp.vowel and 2. member s. on ὁράω and Schwyzer 438, Leumann Hom. Wörter 223 n. 20: 2c, Chantraine Gramm. hom. 1, 161; ἑπτά-πυλος `with seven gates' (ep. lyr. Il.); PlN Θερμο-πύλαι pl. (Simon., Hdt. etc.); the Att. orator a.o. for it Πύλαι, cf. Risch IF 59, 267.Derivatives: 1. Dimin. πυλ-ίς, - ίδος f. (IA.); 2. - ώματα pl. n. `gate' (A, E.; cf. Sommer Zum Zahlwort 9 n.1), formal enlargement (Chantraine Form. 186f.); 3. - εών (sp.), - ών (Arist., hell.). -( ε)ῶνος m. `gate-space, gateway, gate-building'; 4. Πυλ-ᾶτις, - ιδος f. `belonging to Πύλαι' (S. in lyr.), -αϊ̃τις, - ιδος f. `belonging to a gate' (Lyc. 356; for Πυλᾶτις?; cf. Redard 10 a. 212). 5. πυλαῖος `belonging to a gate' (late), `belonging to Πύλαι' (Demeter; Call.); PN Πύλαιος (Β842); Πυλαία, - ίη f. adjunct of the amphictyonian meeting in Πύλαι (IA.); from it Πυλαιασταί m. pl. prop. *"members of Πυλαία" (on the formation Fraenkel Nom. ag. 1, 175ff.; hardly correct Bechtel Dial. 2, 655), metaph. `mountebank, liar' (Phot., Suid.; Rhod. after H.); prob. also πυλαϊκός `conjurer-like' (late). 6. Denom. verb πυλ-όομαι, - όω `to be(come) provided with gates' (Ar., X.).Origin: PG [a word of Pre-Greek origin]X [probably]Etymology: As opposed to the inherited θύρα without etymology; so prob. technical LW [loanword] like many other expressions of architecture (e.g. μέγαρον; s. also Schwyzer 62). Vain attempts at interpretation in Bq (rejected). -- So prob. Pre-Greek.Page in Frisk: 2,623-624Greek-English etymological dictionary (Ελληνικά-Αγγλικά ετυμολογική λεξικό) > πύλη
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37 Anthemios of Tralles
SUBJECT AREA: Architecture and building[br]fl. sixth century AD Tralles, Lydia, Asia Minor[br]Greek architect, geometer, mathematician and physicist.[br]Tralles was a wealthy city in ancient Greece. Ruins of the city are situated on a plateau above the present-day Turkish city of Aydin, in Asia Minor, which is near to Ephesus. In 334 BC Tralles was used as a base by Alexander the Great and later it was occupied by the Romans. After the collapse of the western half of the Roman Empire in the fifth century AD Tralles remained a part of the Byzantine Empire until its destruction in 1282. Anthemios was one of the great sons of Tralles and was probably educated in Alexandria. He is especially famed as architect (with Isodorus of Miletos) of the great Church of Santa Sophia in Istanbul. This vast building, later a Turkish mosque and now a museum, was built for the Emperor Justinian between 532 and 537 AD. It was an early and, certainly for many centuries, the largest example of pendentive construction to support a dome. This form, using the spherical triangles of the pendentives, enabled a circular-based dome to be supported safely upon piers that stood on a square plan below. It gradually replaced the earlier squinch type of structure, though both forms of design stem from Middle Eastern origins. At Santa Sophia the dome rises to 180ft (55m) above floor level and has a diameter of over 100ft (30m). Together with Isodorus, Anthemios also worked upon the Church of the Holy Apostles in Istanbul.[br]Further ReadingG.L.Huxley, 1959, Anthemius of Tralles: A Study in Later Greek Geometry, Cambridge, Mass.: Harvard University Press.Procopius, 1913, De Aedificiis, On the Buildings Constructed by the Emperor Justinian, Leipzig.Richard Krautheimer, 1965, Early Christian and Byzantine Architcture, Penguin.DY -
38 Hero of Alexandria
SUBJECT AREA: Architecture and building, Mechanical, pneumatic and hydraulic engineering, Photography, film and optics, Steam and internal combustion engines[br]fl. c.62 AD Alexandria[br]Alexandrian mathematician and mechanician.[br]Nothing is known of Hero, or Heron, apart from what can be gleaned from the books he wrote. Their scope and style suggest that he was a teacher at the museum or the university of Alexandria, writing textbooks for his students. The longest book, and the one with the greatest technological interest, is Pneumatics. Some of its material is derived from the works of the earlier writers Ctesibius of Alexandria and Philo of Byzantium, but many of the devices described were invented by Hero himself. The introduction recognizes that the air is a body and demonstrates the effects of air pressure, as when air must be allowed to escape from a closed vessel before water can enter. There follow clear descriptions of a variety of mechanical contrivances depending on the effects of either air pressure or heated gases. Most of the devices seem trivial, but such toys or gadgets were popular at the time and Hero is concerned to show how they work. Inventions with a more serious purpose are a fire pump and a water organ. One celebrated gadget is a sphere that is set spinning by jets of steam—an early illustration of the reaction principle on which modern jet propulsion depends.M echanics, known only in an Arabic version, is a textbook expounding the theory and practical skills required by the architect. It deals with a variety of questions of mechanics, such as the statics of a horizontal beam resting on vertical posts, the theory of the centre of gravity and equilibrium, largely derived from Archimedes, and the five ways of applying a relatively small force to exert a much larger one: the lever, winch, pulley, wedge and screw. Practical devices described include sledges for transporting heavy loads, cranes and a screw cutter.Hero's Dioptra describes instruments used in surveying, together with an odometer or device to indicate the distance travelled by a wheeled vehicle. Catoptrics, known only in Latin, deals with the principles of mirrors, plane and curved, enunciating that the angle of incidence is equal to that of reflection. Automata describes two forms of puppet theatre, operated by strings and drums driven by a falling lead weight attached to a rope wound round an axle. Hero's mathematical work lies in the tradition of practical mathematics stretching from the Babylonians through Islam to Renaissance Europe. It is seen most clearly in his Metrica, a treatise on mensuration.Of all his works, Pneumatics was the best known and most influential. It was one of the works of Greek science and technology assimilated by the Arabs, notably Banu Musa ibn Shakir, and was transmitted to medieval Western Europe.[br]BibliographyAll Hero's works have been printed with a German translation in Heronis Alexandrini opera quae supersunt omnia, 1899–1914, 5 vols, Leipzig. The book on pneumatics has been published as The Pneumatics of Hero of Alexandria, 1851, trans. and ed. Bennet Wood-croft, London (facs. repr. 1971, introd. Marie Boas Hall, London and New York).Further ReadingA.G.Drachmann, 1948, "Ktesibios, Philon and Heron: A Study in Ancient Pneumatics", Acta Hist. Sci. Nat. Med. 4, Copenhagen: Munksgaard.T.L.Heath, 1921, A History of Greek Mathematics, Oxford (still useful for his mathematical work).LRD -
39 Montferrand, Auguste Ricard de
SUBJECT AREA: Architecture and building[br]b. 1786d. 1858[br]French architect who was responsible for the rebuilding of the Cathedral of St Isaac in St Petersburg (1817–57).[br]As a young man Montferrand is believed to have spent some time working on Pierre Vignon's Church of the Madeleine in Paris. He went to Russia in the early nineteenth century, arriving in 1816 in St Petersburg, where he worked as a draughtsman. The following year a competition was held to rebuild the great Cathedral of St Isaac in the city, and Montferrand submitted a variety of eclectic designs which gained him the task of designing the cathedral. A succession of plans were prepared and altered over the years and it was 1842 before the design was finally agreed. Though French, Montferrand produced a very Russian building, immensely large and monumental and with an interior superbly rich in the variety of its materials: the monolithic columns of red Finnish granite, their capitals and bases gilded; the marbles of many colours; lapis lazuli; malachite; mosaics; paintings; and sculpture. St Isaac is a classical building on Greek cross plan with a large central dome carried on a Corinthian, colonnaded drum with smaller cupolas set around it. Below are façades with four weighty Corinthian porticoes, pedimented and sculptured. Noteworthy, and characteristic of the time, was Montferrand's masonry dome, which was supported by a framework of cast-iron girders; this was the first use of such a large-scale structure of this type in Russia.[br]Further ReadingGeorge Heard Hamilton, 1954, The Art and Architecture of Russia, Penguin, Pelican History of Art.DYBiographical history of technology > Montferrand, Auguste Ricard de
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40 Rondelet, Jean-Baptiste
[br]b. 1734 Lyons, France d. 1829[br]French architect particularly interested in the scientific and mathematical basis of architectural structure, and who at an early date introduced reinforced concrete into supporting piers in his buildings.[br]From 1795 Rondelet was Professor at the Ecole Centrale des Travaux Publics and while there was responsible for a major treatise on building construction: this was his Traité théorique et pratique de l'art de bâtir, published in four volumes in 1802–17. From 1806 he taught at the Ecole Spéciale d'Architecture, which was soon afterwards merged with the Ecole Polytechnique. It was when Rondelet took over the work of com-pleting the Panthéon in Paris, after the death of Jacques-Germain Soufflot, that he had the opportunity of putting some of his particular structural ideas into practice. In 1755 the King had appointed Soufflot architect of the great new church to be dedicated to the patron saint of the city, Sainte Geneviève. In this neo-classical structure based upon Greek cross plan, Soufflot intended four slender piers, each encased in three engaged columns, to support the pendentives for the dome to rise over the crossing. It was a fine and elegant building on a large scale, but by the early nineteenth century, when the church had become a pantheon, cracks were appearing in the masonry. When Rondelet succeeded as architect after Soufflot's death, he strengthened and enlarged the piers, employing a faced concrete structure reinforced with metal. He used a metalreinforced mortar with rubble aggregate.[br]BibliographyAn article by Rondelet appears in: 1989, Le Panthéon: Symbole des Révolutions, pp. 308–10 (book of the Exhibition at the Hôtel de Sully, Paris), ed. Picard, Caisse Nationale des Monuments Historiques et des Sites en France.Further ReadingM.N.Mathuset-Bandouin, 1980, "Biographie de Jean Rondelet", Soufflot et son temps, Caisse Nationale des Monuments Historiques et des Sites en France, 155ö7.DYBiographical history of technology > Rondelet, Jean-Baptiste
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