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1 каменный купол
Русско-английский словарь по строительству и новым строительным технологиям > каменный купол
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2 каменный купол
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3 кам'яний
1) stone, rockкам'яний пил — quarry dust, tile dust
2) (бездушний, нечулий) stony; hard, immovable3)кам'яний окунь зоол. — soapfish
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4 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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5 каменный купол
Engineering: masonry dome -
6 Brunelleschi, Filippo
SUBJECT AREA: Architecture and building[br]b. 1377 Florence, Italyd. 15 April 1446 Florence, Italy[br]Italian artist, craftsman and architect who introduced the Italian Renaissance style of classical architecture in the fifteenth century.[br]Brunelleschi was a true "Renaissance Man" in that he excelled in several disciplines, as did most artists of the Italian Renaissance of the fifteenth and sixteenth centuries. He was a goldsmith and sculptor; fifteenth-century writers acknowledge him as the first to study and demonstrate the principles of perspective, and he clearly possessed a deep mathematical understanding of the principles of architectural structure.Brunelleschi's Foundling Hospital in Florence, begun in 1419, is accepted as the first Renaissance building, one whose architectural style is based upon a blend of the classical principles and decoration of Ancient Rome and those of the Tuscan Romanesque. Brunelleschi went on to design a number of important Renaissance structures in Florence, such as the basilicas of San Lorenzo and Santo Spirito, the Pazzi Chapel at Santa Croce, and the unfinished church of Santa Maria degli Angeli.However, the artistic and technical feat for which Brunelleschi is most famed is the completion of Florence Cathedral by constructing a dome above the octagonal drum which had been completed in 1412. The building of this dome presented what appeared to be at the time insuperable problems, which had caused previous cathedral architects to shy away from tackling it. The drum was nearly 140 ft (43 m) in diameter and its base was 180 ft (55 m) above floor level: no wooden centering was possible because no trees long enough to span the gap could be found, and even if they had been available, the weight of such a massive framework would have broken centering beneath. In addition, the drum had no external abutment, so the weight of the dome must exert excessive lateral thrust. Aesthetically, the ideal Renaissance dome, like the Roman dome before it (for example, the Pantheon) was a hemisphere, but in the case of the Florence Cathedral such a structure would have been unsafe, so Brunelleschi created a pointed dome that would create less thrust laterally. He constructed eight major ribs of stone and, between them, sixteen minor ones, using a light infilling. He constructed a double-shell dome, which was the first of this type but is a design that has been followed by nearly all major architects since this date (for example Michelangelo's Saint Peter's in Rome, and Wren's Saint Paul's in London). Further strength is given by a herringbone pattern of masonry and brick infilling, and by tension chains of massive blocks, fastened with iron and with iron chains above, girding the dome at three levels. A large lantern finally stops the 50 ft (15.25 m) diameter eye at the point of the dome. Construction of the Florence Cathedral dome was begun on 7 August 1420 and was completed to the base of the lantern sixteen years later. It survives as the peak of Brunelleschi's Renaissance achievement.[br]Further ReadingPeter Murray, 1963, The Architecture of the Italian Renaissance, Batsford, Ch. 2. Howard Saalman, 1980, Filippo Brunelleschi: The Cupola of Santa Maria del Fiore, Zwemmer.Piero Sanpaolesi, 1977, La Cupola di Santa Maria del Fiore: Il Progetto: La Costruzione, Florence: Edam.Eugenio Battisti, 1981, Brunelleschi: The Complete Work, Thames and Hudson.DY -
7 Сокровищница Атрея
Religion: Treasury of Atreus ( c. 1300 to 1250 BC a pointed dome at Mycenae, Greece, built up of overhanging blocks of conglomerate masonry cut and polished to give the impression of a true vault)Универсальный русско-английский словарь > Сокровищница Атрея
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8 Eiffel, Alexandre Gustave
SUBJECT AREA: Civil engineering[br]b. 15 December 1832 Dijon, Franced. 27 December 1923 Paris, France[br]French engineer, best known for the famous tower in Paris that bears his name.[br]During his long life Eiffel, together with a number of architects, was responsible for the design and construction of a wide variety of bridges, viaducts, harbour installations, exhibition halls, galleries and department stores; he set up his own firm in 1867 to handle such construction. Of particular note were his great arched bridges, such as the 530 ft (162 m) span arch over the River Douro at Oporto in Portugal (1877–9) and the 550 ft (168 m) span of the Pont de Garabit over the Truyère in France (1880–4). He was responsible in 1884 for the protective iron-work for the Statue of Liberty in New York and, a year later, for the great dome over the Nice Observatory. In 1876 he had collaborated with Boileau to build the Bon Marché department store in Paris. The predominant material for all these structures was iron, and, in some cases glass was important. The famous Eiffel Tower in Paris is entirely of wrought iron, and the legs are supported on masonry piers that are each set into concrete beneath the ground. The idea of the tower was first conceived in 1884 by Maurice Koechlin and Emile Nougier, and Eiffel won a competition for the commission to built the structure. His imaginative and practical scheme was for a strong lightweight construction 984 ft (300 m) high, with its 12,000 sections to be prefabricated and riveted together largely before erection; the open, perforated design reduced the problems of wind resistance. The tower was constructed on schedule by 1889 to commemorate the centenary of the outbreak of the French Revolution and was the tallest structure in the world until the erection of the Empire State Building in New York in 1930–2.[br]Further ReadingJ.Harriss, 1975, The Tallest Tower: Eiffel and the Belle Epoque, Boston: Hough ton Mifflin.F.Poncetton, 1939, Eiffel: Le Magicien du Fer, Paris: Tournelle.DYBiographical history of technology > Eiffel, Alexandre Gustave
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9 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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