steel+design

structural steel design

structural steel designs

Stahl- & Aluminiumkonstruktionen all-steel design

 

расчетное значение модуля упругости арматуры
Es
—
[Англо-русский словарь по проектированию строительных конструкций. МНТКС, Москва, 2011]

Тематики

• строительные конструкции

Синонимы

• Es

EN

• design value of modulus of elasticity of reinforcing steel

 

расчетное значение модуля упругости предварительно напряженной арматуры
Eр
—
[Англо-русский словарь по проектированию строительных конструкций. МНТКС, Москва, 2011]

Тематики

• строительные конструкции

Синонимы

• Eр

EN

• design value of modulus of elasticity of prestressing steel

 

расчетное значение предела текучести арматурной стали
fsd
—
[Англо-русский словарь по проектированию строительных конструкций. МНТКС, Москва, 2011]

Тематики

• строительные конструкции

Синонимы

• fsd

EN

• design value of the yield strength of reinforcing steel

 

расчетное значение предела текучести конструкционной стали
fyd
—
[Англо-русский словарь по проектированию строительных конструкций. МНТКС, Москва, 2011]

Тематики

• строительные конструкции

Синонимы

• fyd

EN

• design value of the yield strength of structural steel

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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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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SUBJECT AREA: Architecture and building

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During the 1890s Behrens, as an artist, was a member of the German branch of Sezessionismus and then moved towards Jugendstil (Art Nouveau) types of design in different media. His interest in architecture was aroused during the first years of the twentieth century, and a turning-point in his career was his appointment in 1907 as Artistic Supervisor and Consultant to AEG, the great Berlin electrical firm. His Turbine Factory (1909) in the city was a breakthrough in design and is still standing: in steel and glass, with visible girder construction, this is a truly functional modern building far ahead of its time. In 1910 two more of Behrens's factories were completed in Berlin, followed in 1913 by the great AEG plant at Riga, Latvia.

After the First World War Behrens was in great demand for industrial construction. He designed office schemes such as those at the Mannesmann Steel Works in Dusseldorf (1911–12; now destroyed) and, in a departure from his earlier work, was responsible for a more Expressionist form of design, mainly in brick, in his extensive complex for I.G.Farben at Höchst (1920–4).

In the years before the First World War, some of those who were later amongst the most famous names in modern architecture were among his pupils: Gropius, Mies van der Rohe and Le Corbusier (Charles-Edouard Jeanneret).

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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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(n.) = steel point

Ex. Drypoint was another method of engraving printing plates in the fifteenth century according to which the design was sketched directly on to the plate with a steel point, the burr being left alone.

* * *

structure.

estructura profunda/superficial deep/surface structure

3^rd person singular (él/ella/ello) present indicative of spanish verb: estructurar.

2^nd person singular (tú) Imperative of Spanish verb: estructurar.

* * *

► nombre femenino

1 (gen) structure

2 (armazón) frame, framework

* * *

1) structure

2) framework

* * *

1) [de poema, célula, organización] structure

2) [de edificio] frame, framework

* * *

a) (de edificio, puente) structure, framework; ( de mueble) frame; (de célula, mineral) structure

b) (de oración, novela) structure

c) ( de empresa) structure; ( de sociedad) structure, framework

* * *

= frame, framework, pattern, structure, texture, lattice, fabric, carcass.

Ex. Next the book was placed on the sewing frame, and the folded sheets were sewn by hand with needle and thread on to four or five cords or thongs.

Ex. The intention is to establish a general framework, and then to give exceptions or further explanation and examples for each area in turn.

Ex. In the same way that citation orders may have more or less theoretical foundations, equally reference generation may follow a predetermined pattern.

Ex. This chapter does not consider the principles underlying AACR, nor does it review the structure of the code to any significant extent.

Ex. The fruits of Mr. Kilgour's labors and creations have substantially altered the texture of contemporary America library service = Los frutos de los trabajos y creaciones del Sr. Kilgour han alterado sustancialmente la naturaleza del servicio bibliotecario de la América contemporánea.

Ex. Special attention should be given to Figure 2, which proposes two lattices (or ladders) for career movement in libraries.

Ex. The conventional pattern of change has been an evolutionary introduction of the use of technology with no unusual signs of strain in the organizational fabric.

Ex. The bathroom cabinet carcass is made of plywood.

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* con estructura de acero = steel-framed.

* con estructura de madera = timber-framed.

* de estructura de acero = steel-framed.

* de estructura de madera = timber-framed.

* DSIS (Sistema de Indización de Estructura Profunda) = DISI (Deep Structure Indexing System).

* estructura arbórea = tree structure.

* estructura básica = skeleton.

* estructura de apoyo = support structure.

* estructura de datos = data structure.

* estructura de ficheros = file design.

* estructura de la institución = organisational structure.

* estructura del edificio = building shell.

* estructura del registro = record structure.

* estructura demográfica = demographics.

* estructura de poder = power structure.

* estructura de red = network structure.

* estructura jerárquica = chain of command, hierarchical structure.

* estructura jerárquica de gestión = line management.

* estructura jerárquica de una organización = hierarchy ladder.

* estructura laboral = job structuring.

* estructura lógica = logical data structure.

* estructura molecular = molecular structure.

* estructura organizativa = organisational structure.

* estructura piramidal = pyramid structure.

* estructura química = chemical structure.

* estructura relacional = relation structure.

* estructura social = social structure.

* fichero con estructura de red = networked file.

* libro con estructura plegable = pop-up book.

* reparador de estructuras altas = steeplejack.

* sin estructura = unstructured.

* Sistema de Indización de Estructura Profunda (DSIS) = Deep Structure Indexing System (DSIS).

* una estructura de = a pattern of.

* vivienda con estructura de madera = frame dwelling.

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a) (de edificio, puente) structure, framework; ( de mueble) frame; (de célula, mineral) structure

b) (de oración, novela) structure

c) ( de empresa) structure; ( de sociedad) structure, framework

* * *

* * *

1 (de un edificio, puente) structure, framework; (de un mueble) frame; (de una célula, un mineral) structure

una estructura de madera/hormigón a wooden/concrete structure

2 (de una oración, frase) structure; (de una novela, un poema) structure

3 (de una empresa) structure; (de una sociedad) structure, framework

la estructura social en la Edad Media the social framework in the Middle Ages

la estructura jerárquica dentro de la empresa the hierarchical structure within the company

deep/surface structure

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3ª persona singular (él/ella/usted) presente indicativo

2ª persona singular (tú) imperativo

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estructura nf

1. [de sustancia, cuerpo, de organización] structure;

la estructura del átomo the structure of the atom;

la estructura social en la India the structure of Indian society

2. [de edificio, mueble, nave] frame, framework

3. Ling [de oración, texto] structure

estructura superficial surface structure

* * *

f structure

* * *

estructura nf

: structure, framework

* * *

estructura n structure