visual+problem

vieses, etc see ver

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vieses, etc see ver

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ver² (↑ ver (2))

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1ª persona singular (yo) imperfecto(2) subjuntivo

3ª persona singular (él/ella/usted) imperfecto(2) subjuntivo

◊ ser de buen viese to be good-looking o attractive

◊ a mi/su viese in my/his view

a) ( percibir con la vista) to see;

◊ ¿ves algo? can you see anything?;

b) ( mirar) ‹programa/partido› to watch;

◊ viese (la) televisión to watch television;

◊ ¿no ves lo que está pasando? don't o can't you see what's happening?;

a) (constatar, comprobar) to see;

◊ ve a viese quién es go and see who it is;

b) ( ser testigo de) to see;

◊ ¡nunca he visto cosa igual! I've never seen anything like it!;

◊ a ver: (vamos) a viese ¿de qué se trata? OK o all right, now, what's the problem?;

a) ( estudiar):

◊ esto mejor que lo veas tú you'd better have a look at this;

b) [ médico] ( examinar) to see;

◊ ¿la ha visto un médico? has she been seen by a doctor yet?

a) (juzgar, considerar):

◊ yo eso no lo veo bien I don't think that's right;

b) ( encontrar) to see;

◊ no le veo salida a esto I can't see any way out of this;

◊ ¡cuánto tiempo sin viesete! I haven't seen you for ages!

◊ tener … que ver: ¿y eso qué tiene que viese? and what does that have to do with it?;

◊ así no veo I can't see like this;

◊ ¿hay cerveza? — no sé, voy a viese is there any beer? — I don't know, I'll have a look;

◊ ya vieseé I'll see;

◊ me vi en un aprieto I found myself in a tight spot;

◊ se ve bien con esa falda she looks good in that skirt;

a) ( encontrarse) to meet;

◊ nos vemos a las siete I'll meet o see you at seven;

b) (visitarse, encontrarse) to see each other;

◊ nos vemos a menudo we see each other often;

◊ vieses, etc see ver 2

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viese etc ver ver

visteis see ver

visten, etc see vestir

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visteis see ver

visten, etc see vestir

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ver² (↑ ver (2))

vestir

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2ª persona singular (tú) pretérito indicativo

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

2ª persona singular (tú) imperativo

◊ ser de buen viste to be good-looking o attractive

◊ a mi/su viste in my/his view

a) ( percibir con la vista) to see;

◊ ¿ves algo? can you see anything?;

b) ( mirar) ‹programa/partido› to watch;

◊ viste (la) televisión to watch television;

◊ ¿no ves lo que está pasando? don't o can't you see what's happening?;

a) (constatar, comprobar) to see;

◊ ve a viste quién es go and see who it is;

b) ( ser testigo de) to see;

◊ ¡nunca he visto cosa igual! I've never seen anything like it!;

◊ a ver: (vamos) a viste ¿de qué se trata? OK o all right, now, what's the problem?;

a) ( estudiar):

◊ esto mejor que lo veas tú you'd better have a look at this;

b) [ médico] ( examinar) to see;

◊ ¿la ha visto un médico? has she been seen by a doctor yet?

a) (juzgar, considerar):

◊ yo eso no lo veo bien I don't think that's right;

b) ( encontrar) to see;

◊ no le veo salida a esto I can't see any way out of this;

◊ ¡cuánto tiempo sin vistete! I haven't seen you for ages!

◊ tener … que ver: ¿y eso qué tiene que viste? and what does that have to do with it?;

◊ así no veo I can't see like this;

◊ ¿hay cerveza? — no sé, voy a viste is there any beer? — I don't know, I'll have a look;

◊ ya visteé I'll see;

◊ me vi en un aprieto I found myself in a tight spot;

◊ se ve bien con esa falda she looks good in that skirt;

a) ( encontrarse) to meet;

◊ nos vemos a las siete I'll meet o see you at seven;

b) (visitarse, encontrarse) to see each other;

◊ nos vemos a menudo we see each other often;

a) ‹niño/muñeca› to dress

b) ( proporcionar ropa a) to clothe (frml)

c) ( confeccionar ropa a) [ modisto] to dress

◊ viste bien to dress well;

◊ no sabe viste he has no dress sense;

a) ( ponerse ropa) to dress, get dressed;

◊ date prisa, vístete hurry up, get dressed

b) ( de cierta manera):

◊ se viste mal he dresses badly;

c) ( disfrazarse) vistese de algo to dress up as sth

◊ vistieron, etc see vestir

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viste etc

♦ ver ver

♦ ver vestir

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vb → ver, vestir

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viste, etc. ver, vestir

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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    The Theory and Function of Frames

   Here is the essence of the theory: when one encounters a new situation (or makes a substantial change in one's view of the present problem) one selects from memory a substantial structure called a frame. This is a remembered framework to be adapted to fit reality by changing details as necessary.

   A frame is a data-structure for representing a stereotyped situation, like being in a certain kind of living room, or going to a child's birthday party. Attached to each frame are several kinds of information. Some of this information is about how to use the frame. Some is about what one can expect to happen next. Some is about what to do if these expectations are not confirmed.

   We can think of a frame as a network of nodes and relations. The "top levels" of a frame are fixed, and represent things that are always true about the supposed situation. The lower levels have many terminals"slots" that must be filled by specific instances or data.... Collections of related frames are linked together into frame systems. The effects of important actions are mirrored by transformations between the frames of a system. These are used to make certain kinds of calculations economical, to represent changes of emphasis and attention, and to account for the effectiveness of "imagery."

   For visual scene analysis, the different frames of a system describe the scene from different viewpoints, and the transformations between one frame and another represent the effects of moving from place to place. For nonvisual kinds of frames, the differences between the frames of a system can represent actions, cause-effect relations, or changes in metaphorical viewpoint. Different frames of a system share the same terminals; this is the critical point that makes it possible to coordinate information gathered from different viewpoints. (Minsky, 1975, pp. 211, 212)