Министерство образования и науки Российской ФедерацииФедеральное государственное бюджетное образовательное учреждение

высшего профессионального образования«УФИМСКИЙ ГОСУДАРСТВЕННЫЙ НЕФТЯНОЙ

ТЕХНИЧЕСКИЙ УНИВЕРСИТЕТ»

Кафедра иностранных языков

Prominent architects and their most iconic buildings

Тексты для внеаудиторного чтения по направлению «Архитектура»

Практикум

Уфа-2015

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Данный практикум предназначен для самостоятельной работы студентовпервого курса специальности 07.03.01 «Архитектура» с целью обучения чтениюи переводу иностранной литературы во внеаудиторное время.

Все тексты имеют подробный предтекстовый словарь и поясняющиепримечания; задания к тексту в виде вопросов, направлены на контрольпонимания текста, поиск конкретных данных, извлечение необходимойинформации и ее использование в соответствии с коммуникативнымизадачами.

Составители: А.Х. Ишмухаметова, преподавательЕ.И. Сухарева, преподаватель

Рецензенты: А.Р.Арсланова ст. преподаватель, канд. фил. наук каф. ин.яз.Н.Б. Шарифуллина, ст. преподаватель каф. ин.яз.

© Уфимский государственный нефтяной технический университет, 2015

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CONTENTSText 1. Frank Gehry………………………………………………………………..4

Text 2. Frank Gehry’s Architecture………………………………………………..7

Text 3. Zaha Hadid………………………………………………………………..12

Text 4. Zaha Hadid’s Architecture………………………………………………..15

Text 5.Santiago Calatrava………………………………………………………...19

Text 6. Santiago Calatrava’s architecture…………………………………………22

Text7.Massimiliano Fuksas……………………………………………….............30

Text 8. Architecture of Massimiliano Fuksas……………………………………..33

Text 9.Arata Isozaki………………………………………………………............38

Text 10.Architecture of Arata Isozaki…………………………………….. ……..41

Active vocabulary…………………………………………………………………47

References………………………………………………………………………...58

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Text 1. Frank Gehry (4,167)“I'm not going to retire; I'll just keep going…”

I. Learn the following words and expressions:1. bold [bəʊld] – отважный, смелый, энергичный2. brash [bræʃ] – дерзкий, поспешный, опрометчивый3. cardboard [ˈkɑːdbɔːd] – картон4. celebrity [sɪˈlɛbrɪtɪ] – знаменитость, звезда5. chain-link fencing – сетка - рабица6. challenge [ˈtʃælɪndʒ] – подвергать сомнению, бросать вызов7. clutter [ˈklʌtə] – суматоха, беспорядок, хаос8. concrete [ˈkɒŋkriːt] – бетон9. corrugated [ˈkɒrəɡeɪtɪd] – гофрированный, рифленый10.creation [krɪˈeɪʃ(ə)n] – созидание, творчество, творение11.design [dɪˈzaɪn] – план, проект, проектирование, проектировать12.employee [ˌɪmplɔɪˈi:] – рабочий, служащий, работающий по найму13.encourage [ɪnˈkʌrɪdʒ] – ободрять, поощрять, поддерживать14.enroll [ɪnˈrəʊl] – записываться, зачисляться15.entire [ɪnˈtaɪə] – полный, целый, весь16.extended family – большая семья17.fame [feɪm] – популярность, слава18.gambling [ˈɡæmblɪŋ] – азартные игры, игра на деньги19.hardship [ˈhɑːdʃɪp] – трудности, неприятности20.heart attack [ˈhɑːt əˌtæk] – сердечный приступ21.influence [ˈɪnflʊən(t)s] – влияние, воздействие, воздействовать22.introduce – вводить, внедрять, представлять, знакомить23.iron [ˈaɪən] – железо, железный24.itch to do sth [ɪtʃ] – испытывать нетерпеливое желание сделать что-

либо25. mainstream [ˈmeɪnstriːm] – главное направление(зд.в искусстве)26.maverick [ˈmæv(ə)rɪk] – «белая ворона», диссидент, инакомыслящий27.mining [ˈmaɪnɪŋ] – горное дело, горная промышленность28.motif [məʊˈtiːf] – лейтмотив, главная мысль, мотив, элемент орнамента29.plywood [ˈplaɪwʊd] – фанера30.recuperate [rɪˈkjuːp(ə)reɪt] – восстанавливать, возмещать31.regret [rɪˈɡrɛt] – сожалеть, испытывать сожаление32.rumpled [ˈrʌmpld] – потрепанный, помятый33.savings – сбережения34.scavenge [ˈskævɪndʒ] – копаться в мусоре, чистить, очищать35.scenery [ˈsiːn(ə)rɪ] – пейзаж, ландшафт, вид36.soft-spoken [ˈsɒftˌspəʊk(ə)n] – любезный, учтивый37.supervise – заведовать, руководить38.unpretentious [ˌʌnprɪˈtɛn(t)ʃəs] – скромный, простой39.weird [wɪəd] – странный, чудной40.wood shavings – стружки

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II. Mind the pronunciation of the following words:Spain [speɪn], Jewish [ˈdʒuːɪʃ], Sabbath [ˈsæbəθ], Southern [ˈsʌðən],

Massachusetts [ˌmæsəˈtʃuːsɪts], Canada [ˈkænədə], Toronto [təˈrɒntəʊ],Guggenheim [ˈɡʊɡənhaɪm], California [ˌkælɪˈfɔːnɪə], Bilbao [bɪlˈbɑːəʊ],stenographer [stəˈnɒɡrəfə], gefilte fish [ɡəˈfɪltəˈfɪʃ], machine [məˈʃiːn],geometric [ˌdʒɪəˈmɛtrɪk], investment [ɪnˈvɛstmənt], whimsical [ˈwɪmzɪk(ə)l].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Frank Gehry Over the years many adjectives have been used todescribe Frank Gehry's creations, including forward-looking, astonishing, and weird. Anything butordinary, Gehry challenged the mainstream in the1970s and 1980s when he used everyday materialssuch as cardboard to make furniture, and chain-linkfencing to construct buildings. Collectors sought hiswhimsical lamps and chairs, and Gehry-designedoffice buildings and homes were scattered in cities allover the world, but the maverick architect did not

achieve real fame until the late 1990s. The Guggenheim Museum in Bilbao, Spain,unveiled by Gehry in 1997, made him a celebrity at the age of sixty-eight. Since then,countless urban commissions have come Gehry's way, and he is considered to be oneof the most important and innovative architects of the twenty-first century.

Frank Gehry was born Ephraim Goldberg on February 28, 1929, in Toronto,Canada. He and his sister, Doreen, were raised in a small mining town in easternOntario, by the extended Goldberg family. Father Irving was a former boxer whotraveled selling pinball and slot machines. Sometimes Gehry would make sales callswith his father, which meant that he made frequent stops at bars at a very young age.Once Gehry said, “But my mother took me to concerts and introduced me to art, sothere was a balance.”

Gehry also considers his grandmother to be an early influence. He fondlyremembers building imaginary cities with her using wood shavings scavenged fromhis grandfather's hardware store. He also remembers the carp that his grandmother letswim around in the family bathtub on Friday nights. The Goldbergs were Jewish andgefilte fish was a favourite for Sabbath, or Saturday night, dinner. In later yearsGehry regularly used fish motifs in many of his designs. “I never intended “to buildfish,”Gehry told to the journalists, “In my mind, I say 'Enough with the fish.' But ithas a life of its own.”

By the mid-1940s the family was experiencing hardships on several fronts.Following World War II (1939–45), the Canadian government began cracking downon gambling and Irving Goldberg's business suffered. At the same time the familylost most of their savings as a result of some bad investments. Then, in 1947,Goldberg suffered a heart attack, which was severe enough that his doctor suggested

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a change of scenery to help him recuperate. As a result, the entire family left Canadafor Los Angeles, California. Gehry had just graduated from high school, and themove proved to be an important one. He has lived the rest of his life in California,and critics considered him to be very much a California designer – brash, bold, andunpretentious.

Gehry took a job as a truck driver in order to pay for night-school art classesand eventually enrolled in the school of architecture at the University of SouthernCalifornia (USC). He was inspired to get a degree in architecture by one of histeachers who invited him to visit a construction site. “I was quite moved by watchingthe architect walking around, supervising, by the things he was worried about,”Gehry recalled himself. In 1952 Gehry married his first wife; a stenographer whohelped put him through school. The two were married for sixteen years and had twodaughters. According to Gehry his wife encouraged him to change his name. Gehrywas taunted and beaten up when he was a boy in Toronto because he was Jewish, andhis wife feared the same for their children. He now regrets his decision. “I wouldn'tdo it today,” Gehry said in one of his interviews.

After graduating from USC in 1954, Gehry had a one-year stint in the U.S.Army. It was during this time that he began experimenting with furniture design sincehis assignment was to make furniture for the enlisted soldiers. Gehry's designs wereso good that his tables and chairs usually ended up in the officers' quarters. He thenspent a year studying city planning at the Harvard Graduate School of Design, inCambridge, Massachusetts. In 1957 Gehry returned to California and worked forseveral years with established architecture firms, before opening his own design firmin 1962.

Gehry's early projects were fairly typical of the times and followed themodernist style. Modernist architecture stressed clean, geometric lines, with noclutter and no decoration. Simplicity was the key, functionality was the focus. Gehrythe artist, however, was itching to experiment. So he began using materials such asunpainted plywood, rough concrete, and corrugated metal, all of which are usuallyhidden after a house is “properly finished.”

At the moment Gehry still runs his studio, which has now grown to over 140employees. In his spare time, the rumpled, soft-spoken artist enjoys sailing in theSanta Monica Bay and playing ice hockey. He took up the sport at age sixty. Lookingahead, he would like to become involved in urban renewal projects in Los Angelesand New York. “I'm not going to retire,” Gehry told People magazine, “I'll just keepgoing.”

Notes:1. anything but ordinary – все что угодно только не быть как все 2. officers’ quarters - офицерские квартиры3. after a house is properly finished – после завершения чистовой отделки4. Bilbao - Бильбао (город в Испании)5. it has a life of it’s own – это само собой получается6. … put him through school – помогала ему оплачивать учебу

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IV. Answer the following questions:1. What adjectives are normally used to describe Frank Gehry and his buildings?

What can you say about his personality and his creations reading these adjectives?

2. “There was a balance in my upbringing”, says Gehry. Explain these words.3. How did his childhood influence the artist and his work?4. What happened in the mid-1940s?5. Was Gehry a goal-seeking person? Prove your point of view.6. Why did he change his name? Does he regret it now?7. What was the beginning of his career?8. What are the typical features of modernism? What was Gehry’s attitude to

them?9. What are Gehry’s plans for the future?10.Retell the text, using active vocabulary.

Text 2. Frank Gehry’s Architecture (4,810)

I. Learn the following words and expressions:1. aerial view [ˈɛərɪəl] – вид с воздуха, с высоты2. auditorium [ˌɔːdɪˈtɔːrɪəm] – зрительный зал, аудитория, конференц-зал3. bowling alley [ˈbəʊlɪŋˌælɪ] – площадка для игры в боулинг, кегельбан4. capture [ˈkæptʃə] – поймать, схватить, увлечь, пленить5. cascade [kæˈskeɪd] – каскад, небольшой водопад 6. clad [klæd] – облицовывать7. cladding [ˈklædɪŋ] – облицовка, обшивка8. controversy [ˈkɒntrəvɜːsɪ, kənˈtrɒvəsɪ] – спор, дискуссия, полемика9. cozy [ˈkəʊzɪ] – удобный, уютный10.deny [dɪˈnaɪ] – отрицать, отвергать11.ensure [ɪnˈʃʊə] – обеспечивать, гарантировать, уверять12.exhibition [ˌɛksɪˈbɪʃ(ə)n] – выставка 13.extraordinary [ɪkˈstrɔːd(ə)n(ə)rɪ] – выдающийся, исключительный 14.eye-catching [ˈaɪˌkætʃɪŋ] – привлекательный, бросающийся в глаза15.fascinating [ˈfæsɪneɪtɪŋ ]– очаровательный, захватывающий16.rear [rɪə] – зд. тыльная/задняя часть здания17.immense [ɪˈmɛns] – огромный, колоссальный18.in fits and starts – неравномерно, урывками19.include – содержать, включать в себя20.infuse [ɪnˈfjuːz] – вдохновлять, воодушевлять21.leviathan[lɪˈvaɪəθ(ə)n] – громадина, гигант, великан22.light/lit/lit – освещать, зажигать23.limestone [ˈlaɪmstəʊn] – известняк24.magic wand [wɒnd] – волшебная палочка25.masterpiece [ˈmɑːstəpiːs] – шедевр26.perplex [pəˈplɛks] – ставить в тупик, ошеломлять, сбивать столку

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27.proposal [prəˈpəʊz(ə)l] – предложение, проект, предложение (о браке)28.remit [rɪˈmɪt] – уменьшать, смягчать, ослаблять, пересылать, отправлять29.revitalize [riːˈvaɪt(ə)laɪz] – оживлять, восстанавливать30.riot [ˈraɪət] – бунт, восстание, буйство, пышность31.rival [ˈraɪv(ə)l] – соперничать, конкурировать32.sandstone [ˈsæn(d)stəʊn] – песчаник33.severe [sɪˈvɪə] – строгий, суровый, требовательный34.significant [sɪɡˈnɪfɪkənt] – важный, существенный35.terrace [ˈtɛrɪs] – терраса, веранда 36.titanium [tɪˈteɪnɪəmˌ taɪˈteɪnɪəm] – титан, титановый37.triumph [ˈtraɪəmf] – триумф, победа, торжество 38.unveil [ˌʌnˈveɪl] – снимать вуаль, торжественно открывать (памятник)39.urban [ˈɜːbən] – городской 40.widow [ˈwɪdəʊ] – вдова

II. Mind the pronunciation of the following words:Bois de Boulogne [bwɑdebʊˈlɔn], Paris [ˈpærɪs], Douglas [ˈdʌɡləs], Miami [maɪ

ˈæmɪ], although [ɔːlˈðəʊ], millimeter [ˈmɪlɪˌmiːtə], alley [ˈælɪ], harmonious [hɑːˈməʊnɪəs], futurist [ˈfjuːtʃərɪst], philharmonic [ˌfɪləˈmɒnɪk], hullabaloo[ˌhʌləbəˈluː], orchestra [ˈɔːkɪstrə].

III. Read and translate the text. Write out twenty more new words from the text

and learn them.Gehry's best-known works include the titanium-clad Guggenheim Museum in

Bilbao, Spain; Walt Disney Concert Hall in downtown Los Angeles; Louis VuittonFoundation in Paris, France; New World Center in Miami Beach and many others.

Built within the context of Bilbao Ria 2000 Plan to revitalize some industrialareas of the city of Bilbao, the Guggenheim Museum was created. The BasqueGovernment’s brief was to have one of the most significant 20th century buildings,and finally it was.

This masterpiece is a kind of urban sculpture that gives people the impressionof being a ship in the Nervión River, or even a metallic flower, from an aerial view. Itis set between two levels: the river level and the city level, 16 meters higher. The plotis crossed by the Puente de la Salve bridge, embraced by a sculptural tower thatmakes it part of the compound. It has wide stairs that connect again the two differentlevels at the other side of the bridge.

The Guggenheim Museum in Bilbao, designed by Frank GehryThis sculptural building is composed by different volumes with different uses

apart from the exhibition rooms: an auditorium, a library, offices, a café and arestaurant.

Gehry used blocks of limestone, half-millimeter-thick titanium panels, glasscurtains and a water surface at the rear. Limestone represents the tradition (DeustoUniversity, on the other side of the river, is made of sandstone) and titanium panels

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give the building a futurist image. On the inside, exhibition rooms are large enough toshow Modern Art, that includes great scale works, like Rosenquist and Warhol’spictures.

After his Guggenheim triumph, Gehry worked harder than ever, and in severalyears he managed to create what many claim is a masterpiece to rival theGuggenheim, the Walt Disney Concert Hall.

The project had been in the works since 1987 when Lillian Disney (1899–1997), widow of American icon Walt Disney (1901–1966), decided to build a newhall to house the Los Angeles Philharmonic. The following year Gehry won thecompetition to design the hall, which was surprising at the time since he was stillknown as the weird architect who used chain-link fencing. When faced with hismodern, spiraling designs, the ninety-year-old Disney was perplexed. Gehry wonhere over by showing the inspiration for his design – a single white rose floating in abowl of water.

The Walt Disney Concert Hall, designed by Frank GehryWork on the hall went in fits and starts, stalled over the years by earthquakes,

riots, and a lack of funds. In 1997 Lillian Disney died, and many thought perhaps herdream died with her. That same year, however, the Guggenheim opened and Gehry'sinstant star status infused new life into the proposal. Funding came through, andfifteen years after he began, Gehry unveiled the finished hall in October of 2003. Thestructure looks like a cascade of shiny, metal ribbon unfurled against the sky.

In Time magazine, Gehry called it “a boat where the wind is behind you.” It isespecially unique because Gehry seems to have captured the essence of the hall'snamesake because the shining arcs bring to mind the magic wand of Disney dancingin the air.

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For the curving interior Gehry used Douglas fir to create comfortable, cozysurroundings for concert-goers, who are also treated to floral-patterned cushionedseats. The seat design is a tribute to Lillian Disney. In addition, since functionality isso central, Gehry wanted the musicians to be happy. He worked closely with aJapanese acoustics company to ensure that his design would provide a perfectharmonious setting. One day while the orchestra was practicing, Gehry was in theaudience. “One of the bass players looked at me,” he recounted, “and gave me thisbig thumbs up. That's when I knew it was all O.K.”

Louis Vuitton Foundation in Paris, designed by Frank Gehry

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The construction of this new centre was started in 2006, designed by theAmerican-Canadian architect Frank Gehry. Built at a cost of $143 million, it wasopened in October 2014. It looks as Gehry intended – as though it is sailing down theBois de Boulogne. Although a privately owned venue at the moment it will pass intothe hands of the Paris government after 55 years.

The two story structure has 11 galleries of different sizes, a huge 350 seatauditorium and multilevel roof terraces for events and art installations. Gehry had tocontain his design within the square footage and two story volume of a bowling alleythat previously stood on the site. His remit required that anything higher had to bemade of glass. Though it may have seemed difficult, the result is stunning; aleviathan glass building that takes the form of sails inflated by the wind.

Like the pyramid before it at the Louvre, Gehry’s design for Louis Vuitton hasattracted controversy. Some love it, some hate it but all agree, this building is likenothing Paris has seen before.

Some say this is Gehry’s attempt to recreate the Guggenheim Museum inBilbao – but in glass. Whatever the hullabaloo and however anyone feels about theLouis Vuitton Fondation, there is no denying that it is a very eye-catching andfascinating piece of architecture.

Inside there are exhibitions of contemporary art by the world’s top artists,concerts will take place in the auditorium and the website shows a dynamicprogramme of events.Take the elevator to the fourth floor and walk around the terrace to get anunderstanding of how this immense glass gallery was put together. What you will notforget are the extraordinary views over the City, especially at night when the buildingis lit up and Paris twinkles at your feet. There are other terraces, an excellentexhibition of the plans of the museum with models showing what is inside and a filmshowing how it was built.

Notes:1. Walt Disney Concert Hall – концертный зал имени Уолта Диснея2. Bois de Boulogne – Булонский лес3. Louis Vuitton Foundation – фонд и музей Луи Виттон4. Guggenheim Museum – Музей Гуггенхайма5. New World Center – концертный зал Новый Мировой Центр в Майами6. Deusto University – университет Деусто7. The Nervión River – река Нервион8. Douglas fir – дугласова пихта, лжетсуга тисолистная (вечнозелёное

хвойное дерево семейства cосновые)9. in the works – в процессе разработки

IV. Answer the following questions:1. What was the purpose of Guggenheim Museum’s creation?2. What impression does this building give to people?

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3. What building materials were used to construct this masterpiece? Why?4. Describe Lillian Disney’s attitude to Gehry’s modern architecture. What did he

do to overcome this difficulty?5. Describe the structure of The Walt Disney Concert Hall (use the active

vocabulary from the text).6. Prove that Gehry is a Professional Architect who thinks about every detail.7. What can one find inside the Louis Vuitton Foundation in Paris?8. Do you agree with the words “leviathan glass building”? Why? Why not?9. Would you like to visit one of those places described in Text 2? 10.What is your personal attitude to Frank Gehry’s architecture?

Text 3. Zaha Hadid (3,052)“If architecture doesn't kill you, then you're no good…”

I. Learn the following words and expressions:

1. absorb [əbˈzɔːb,əbˈsɔːb] – поглощать, впитывать, улавливать

2. acclaim [əˈkleɪm] – объявлять, провозглашать, бурноаплодировать

3. actual [ˈæktʃʊəl] – действительный, фактически существующий

4. afford [əˈfɔːd] – иметь возможность, давать, позволять себе

5. attend [əˈtɛnd] – посещать, присутствовать

6. chapel [ˈtʃæp(ə)l] – (небольшая) церковь, часовня

7. citizen [ˈsɪtɪz(ə)n] – гражданин, гражданка

8. civilization [ˌsɪv(ə)laɪˈzeɪʃ(ə)n] – цивилизация, цивилизованность

9. commission [kəˈmɪʃ(ə)n] – заказ (особ. художнику), поручение

10. contemporary [kənˈtɛm|p(ə)rərɪ] – современный, новый

11. demand [dɪˈmɑːnd] – потребность, спрос

12. dismiss [dɪsˈmɪs] – отпускать, отвергать, распускать

13. diverse [daɪˈvɜːs] – иной, многообразный, разнообразный

14. employ – предоставлять работу, нанимать сотрудников

15. enter the competition /the event – выступать в соревновании,участвовать в состязании

16. executive [ɪɡˈzɛkjʊtɪv] – руководитель, руководящий работник

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17. expect [ɪkˈspɛkt] – ожидать, ждать

18. focus [ˈfəʊkəs] – сосредоточивать, концентрироваться

19. give up [ˈɡɪvˈʌp] – оставить, отказаться, бросить

20. intend for – предназначать для чего-либо

21. interviewer [ˈɪntəvjuːə] – интервьюер, опрашивающий

22. jut out – выдаваться

23. marsh [mɑːʃ] – болото, топь

24. move to/into – переезжать

25. neighbor [ˈneɪbə]– сосед

26. nun [nʌn] – монахиня

27. one-of-a-kind [ˌwʌnəvəˈkaɪnd] – необычный, своеобразный

28. ongoing [ˈɒnˌɡəʊɪŋ] – продолжающийся, постоянный

29. outbreak [ˈaʊtbreɪk] – вспышка, внезапное появление, начало

30. pursue [pəˈsjuː] – преследовать, добиваться, избрать профессией

31. religious [rɪˈlɪdʒəs] – религиозный, относящийся к религии

32. reshape [ˌriːˈʃeɪp] – изменять форму, переделывать

33. retain [rɪˈteɪn] – удерживать, сдерживать

34. select [sɪˈlɛkt] – избранный, отборный, отбирать, выбирать

35. slope [sləʊp] – скат, склон, откос

36. stir up [ˈstɜː(r)ˈʌp] – расшевелить, разбудить, побуждать

37. suffer [ˈsʌfə] – страдать, испытывать, терпеть

38. ties – связи, узы

39. to keep up with – не отставать от кого-л., поспевать за кем-л.

40. violence [ˈvaɪələns] – жестокость, насилие

II. Mind the pronunciation of the following words:

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Baghdad [ˌbæɡˈdæd], Iraq [ɪˈrɑːk], Islamic [ɪzˈlæmɪk], Sumerian [suːˈmɪərɪən],Catholic [ˈkæθ(ə)lɪk], Muslim [ˈmʊzlɪm], Beirut [beɪˈruːt], Lebanon[ˈlɛbənən], Dutch [dʌtʃ], London [ˈlʌndən], Ohio [əʊˈhaɪəʊ], Cincinnati[ˌsɪn(t)sɪˈnætɪ].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Zaha HadidFor many years, her designs filled the pages of

architecture periodicals but were dismissed as impractical oras too radical, and Hadid even thought about giving uparchitecture after she suffered a major rejection in heradopted homeland of Britain in 1995. Her star began to riseinternationally when her design for Cincinnati, Ohio's newCenter for Contemporary Art was selected and built, earningworldwide acclaim. By the mid-2000s Hadid employednearly 150 people in her London office and was workinghard to keep up with new commissions that were coming in,

offering her a chance to help reshape the world architectural landscape. Born in Baghdad, Iraq, on October 31, 1950, Zaha Hadid grew up in a well-

educated Islamic family. Her father was an executive and, for a time, the leader of aliberal Iraqi political party. The drawing ability was first absorbed from her mother.Hadid's interest in architecture had roots in a trip her family took to the ancientSumer region in southern Iraq, the site of one of the world's oldest civilizations,when she was a teenager. “My father took us to see the Sumerian cities,” she toldJonathan Glancey of London's Guardian newspaper. “Then we went by boat, andthen on a smaller one made of reeds, to visit villages in the marshes. The beauty ofthe landscape – where sand, water, reeds, birds, buildings, and people all somehowflowed together – has never left me. I'm trying to discover – invent, I suppose – anarchitecture, and forms of urban planning, that do something of the same thing in acontemporary way.”

Hadid attended a Catholic school where French was spoken and nuns served asinstructors, but which was religiously diverse. As Hadid told to one of the journalists,“the Muslim and Jewish girls could go out to play when the other girls went tochapel.” Hadid's family expected her to pursue a professional career, and she studiedmath at the American University in Beirut, Lebanon. Her family left Iraq after therise of dictator Saddam Hussein and the outbreak of war with neighbouring Iran, butshe has retained ties to both Iraq and Lebanon and has at times had difficulty talkingto interviewers about the ongoing violence in her home region.

In 1972 Hadid moved to London (later becoming a British citizen) and enrolledat the Architectural Association School of Architecture. She was never married norhad children. “If architecture doesn't kill you, then you're no good,” she explained toGlancey. “I mean, really—you have to go at it full time. You can't afford to dip inand out.” By 1977 Hadid had received her degree, along with a special Diploma

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Prize, and she began working for a London firm, founded by one of her key teachersDutch architect Rem Koolhaas.

Hadid opened an office of her own in 1980, but at first her ideas were more indemand than her actual designs. Hadid taught courses at the ArchitecturalAssociation and filled notebooks with one-of-a-kind ideas, some of which werepublished in architecture magazines or exhibited in galleries. Hadid began to enterdesign competitions, some of them research-oriented and others for buildingsintended for construction. Her design for The Peak, a sports club jutting outhorizontally from one of the mountain slopes that surround the city of Hong Kong,won the top prize in the institution's competition, but the building was neverconstructed. Hadid's competition entries in the 1980s and early 1990s were littleknown to the public at large but stirred up interest among her fellow architects, andeven after she became famous, her website continued to list her competition prizesbefore focusing on her actual building projects.

Notes:1. absorbed – унаследовала2. ancient Sumer region – территория древнего Шумера3. Architectural Association School of Architecture – Архитектурная школа

Архитектурной Ассоциации4. you have to go at it full time – вы должны посвящать этому все свое время5. public at large – широкая публика

IV. Answer the following questions:1. What were the roots of Zaha Hadid’s interest in architecture?2. How did she describe the trip to Sumer region?3. Who was her father?4. What have you found out about her education?5. When did her family leave Iraq and why?6. How did she feel about her motherland staying abroad?7. “She was never married nor had children” what do you think about this fact of

Hadid’s biography? Would you do the same in her place?8. How did Hadid’s career start?9. Did success come to Zaha Hadid at once?

Text 4. Zaha Hadid’s Architecture (4,632)

I. Learn the following words and expressions:1. allow [əˈlaʊ] – позволять, разрешать2. amass [əˈmæs] – собирать, копить, накапливать3. angle [ˈæŋɡl] – угол, ракурс4. approach [əˈprəʊtʃ] – приближаться, подходить, сближаться5. ascend [əˈsɛnd] – подниматься, всходить6. award [əˈwɔːd] – награждать, присуждать7. bay [beɪ] – бухта, залив

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8. breakthrough [ˈbreɪkθruː] – прорыв, достижение, открытие 9. commitment [kəˈmɪtmənt] – обязательство, заинтересованность 10.confine [ˈkɒnfaɪn] – граница, предел11.conscious [ˈkɒn(t)ʃəs] – понимающий, осознанный, здравый12.curious [ˈkjʊərɪəs] – любопытный13.devastated [ˈdɛvəsteɪtɪd] – опустошенный, разоренный14.dire [ˈdaɪə] – страшный, ужасный, жуткий15.error [ˈɛrə] – ошибка, заблуждение16.fire truck – пожарная машина17.fit [fɪt] – соответствовать, годиться, подходить18.interior [ɪnˈtɪərɪə] – внутренний, внутренняя сторона, часть19.itinerary [aɪˈtɪn(ə)r(ə)rɪ] – маршрут, путь20.meld – объединяться, смешиваться21.numerous [ˈnjuːm(ə)rəs] – многочисленный, множественный22.observer [əbˈzɜːvə] – наблюдатель, эксперт, обозреватель23.obsolete [ˈɒbs(ə)liːt] – вышедший из употребления 24.permanent [ˈpɜːm(ə)nənt] – постоянный, неизменный25.propel [prəˈpɛl] – двигать, побуждать, толкать вперед26.ramp [ræmp] – скат, уклон, пандус27.render – представлять, исполнять28.restrict [rɪˈstrɪkt] – ограничивать, держать в определенных пределах29.rumored [ˈruːməd] – известный по слухам30.ski jump – трамплин, прыжок с трамплина31.spatial [ˈspeɪʃ(ə)l] – пространственный, занимающий пространство32.staff [stɑːf] – набирать кадры, комплектовать штат33.sundeck [ˈsʌndɛk] – открытая веранда на солнечной стороне34.trouble [ˈtrʌb(ə)l] – неприятность, затруднение, трудность35.unorthodox [ʌnˈɔːθədɒks] – неортодоксальный, необщеприняый36.virtue [ˈvɜːtʃuː, -tjʊ-] – добродетель, нравственность, эффективность37.warehouse [ˈwɛəhaʊs] – склад, складское помещение, товарный склад38.withdraw [wɪðˈdrɔː] – отнимать, забирать, отзывать 39.unfortunately [ʌnˈfɔːtʃʊnɪtlɪ] – к несчастью, к сожалению40.recall[rɪˈkɔːl] – вспоминать, припоминать

II. Mind the pronunciation of the following words:Japan [dʒəˈpæn], Alpine [ˈælpaɪn], athlete [ˈæθliːt], visual [ˈvɪʒʊəl, -zjʊə-],

theory [ˈθɪərɪ], neutral [ˈnjuːtr(ə)l], intrigue [ɪnˈtriːɡ], volunteer [ˌvɒl(ə)nˈtɪə], furniture [ˈfɜːnɪtʃə].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Vitra Fire Station, designed by Zaha Hadid

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After several small projects, including one for the interior of the MonsoonRestaurant in Sapporo, Japan, Hadid's first major building was constructed in 1993and 1994; it was a small Vitra Fire Station, with numerous irregular angles (Hadidhas been widely quoted as saying that since there are 360 degrees, she sees no reasonto restrict herself to just one).

Constructed as a working firehouse within the Vitra furniture design andmanufacturing complex (after a fire some years earlier proved the need for such astructure), the building was intended to serve all of Vitra's buildings which at the timefell outside the range of neighbouring fire districts. When in use the firehouse wasstaffed by volunteers who worked in the Vitra factory. The building functioned as afirehouse until the fire district lines were re-drawn and the Vitra complex was finallycovered by a nearby fire department. This rendered the building partially obsolete,and it was for this reason (and not the rumored error on Hadid's part of not allowing enough room in the building to house fire trucks) that the building is now used byVitra as a showplace for part of its permanent collection of chairs.

Cardiff Bay Opera House, designed by Zaha HadidIn 1994 Hadid seemed to be on the verge of a breakthrough: her design for the

new Cardiff Bay Opera House in Britain's Wales region was selected forconstruction. It was to be an unorthodox building, with sharp angles and interiorspaces that ran into and through one another rather than falling neatly into separateareas, but it was also planned to be inviting to the user, with an auditoriumsurrounded by glassed-in spaces that gave views of nearby Cardiff Bay.

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But unfortunately, the design of the Cardiff Bay Opera House ran into troublealmost immediately. The design competition was reopened, and Hadid's design wasonce again named the winner, but the project's funder, Britain's National Lottery,eventually withdrew its commitment. Hadid was devastated. “It was such adepressing time,” she recalled to Evening Standard . “I didn't look very depressedmaybe but it was really dire. I made a conscious decision not to stop, but it couldhave gone the other way.”

Bergisel Ski Jump, designed by Zaha HadidAt the same time, Hadid

began to amass a solid core ofadmirers among her staff,among architecture experts, andamong ordinary observers. Asclients became more and morefascinated with Hadid's plans,some of the plans advancedfrom theory to reality. Shedesigned the unique Bergisel SkiJump on a mountain nearInnsbruck, Austria. ‘Thechallenge here was to integrate anew, initially alien element intoa given formula: the cafe and

sundeck’, Zaha Hadid once said. Construction works began in 2001 and have beencompleted in September 2002. Zaha Hadid designed what is already considered atourist attraction that should be on the itinerary of every visitor to Innsbruck. At alength of about 90 meters and a height of almost 50 meters the building is acombination of a tower and a bridge. Structurally it is divided into the verticalconcrete tower and a spatial green structure, which integrates the ramp and the cafe.Two elevators bring visitors to the cafe 40 meters over the peak of the BergiselMountain. From here they can enjoy the surrounding alpine landscape as well aswatch the athletes below fly above the Innsbruck skyline.

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The Contemporary Arts CenterDesigned by Zaha Hadid and in 1998 came

the biggest commission yet: the ContemporaryArts Center. This is the first free-standingbuilding for the Contemporary Arts Center,founded in Cincinnati in 1939 as one of the firstinstitutions in the United States dedicated to thecontemporary visual arts. It is one of the firstbigger buildings Zaha Hadid has designed and thefirst relatively large museum in America designedby a woman. The building makes you curiousabout what one can expect inside; especially thestaircases are astonishing. “We didn’t want tocreate just another big warehouse for art,” statesJames Fitzgerald, Chair of the Board of Trustees.“We wanted to create a building, a piece of

architecture that would speak to the highest levels of architectural design and wouldhave lasting power.”

The new building had to fit the confines of a narrow street corner lot indowntown Cincinnati, but Hadid made a virtue of necessity by linking the museum'sinternal and external environments: the outdoor sidewalk continued into the building,where it propelled visitors toward a sleek black central staircase that meldeddramatically into the structure's back wall. As viewers ascended the staircase theylooked into galleries that completely overturned the usual neutral conception ofmuseum display spaces—the galleries had different shapes and sizes, and each oneseemed to present something new to those approaching. “Not many peoplevoluntarily walk up six stories anywhere,” noted Joseph Giovannini of Art inAmerica, “but Hadid's space so intrigues visitors that few think of bypassing theexperience by hitching a ride on the elevator: they sense they would miss chapters.”A bonus in Hadid's design was its economy: the building used only commonmaterials, and construction costs came in at a reasonable $230 per square foot.

In 2004 Hadid was awarded the Pritzker Architecture Prize, considered theprofession's highest honor. She was the first woman to receive the award. “I stillbelieve in the impossible,” said Hadid during one of the interviews. So there are fewlimits to what she might do next.

Notes:1. Vitra Fire Station – пожарная часть «Витра»2. Cardiff Bay Opera House – оперный театр залива Кардифф3. Bergisel Ski Jump – лыжный трамплин Бергизель4. advanced from theory to reality – перестали существовать только на

бумаге5. The Contemporary Arts Center – центр современного искусства

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IV. Answer the following questions:1. What was Hadid’s first major building? What do you know about it?2. “Cardiff Bay Opera House” was a very important project, wasn’t it?3. How did Zaha Hadid feel about the failure with the Cardiff Bay Opera

House?4. What helped to advance some of Hadid’s paper projects to reality?5. What was the challenge with the Bergisel Ski Jump?6. Describe the structure of the Bergisel Ski Jump.7. What do you think of the Contemporary Arts Center? What peculiar

features does it have?8. How do you understand the words “I still believe in the impossible”?9. Would you like to visit one of those places described in the Text 4? 10.What is your personal attitude to Zaha Hadid’s architecture?

Text 5. Santiago Calatrava (4,090)“The metamorphoses of space”

I. Learn the following words and expressions:

1. associate [əˈsəʊʃɪeɪt] – присоединять(ся) (в качестве участника), вызывать ассоциацию (with), общаться

2. avenue [ˈævɪnjuː] – авеню, проспект, аллея

3. ceramist [ˈsɛrəmɪst] – гончар, керамик, специалист по керамике

4. complete [kəmˈpliːt] – завершать, комплектовать, пополнять

5. confess [kənˈfɛs] – признавать, признаваться

6. convert [kənˈvɜːt] – преобразовывать; превращать

7. defy [dɪˈfaɪ] – бросать вызов, игнорировать, противостоять

8. delicate [ˈdɛlɪkɪt] – утонченный, изысканный, тонкий

9. earn [ɜːn] – заслуживать, снискать, получать, зарабатывать

10. environs [ɪnˈvaɪ(ə)rənz] – окрестности; окружение, среда

11. expertise [ˌɛkspɜːˈtiːz] – квалификация, компетентность

12. facet [ˈfæsɪt] – фаска; аспект, грань

13. fold [fəʊld] – складывать, сгибать; загибать; сворачивать; перегибать

14. gain [ɡeɪn] – получать, зарабатывать, добывать, извлекать пользу

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15. hallmark [ˈhɔːlmɑːk] – критерий, признак

16. heritage [ˈhɛrɪtɪdʒ] – наследство; наследие

17. imposing [ɪmˈpəʊzɪŋ] – грандиозный; впечатляющий, внушительный;

18. load-bearing – несущий ( нагрузку)

19. local authorities – местные власти, органы местного самоуправления

20. major [ˈmeɪdʒə] – значительный, главный; крупный

21. metamorphose [ˌmɛtəˈmɔːfəʊz] – трансформировать, трансформация

22. mode [məʊd] – метод, способ; форма

23. oversee [ˌəʊvəˈsiː] – осуществлять надзор; следить; смотреть (за чем-л.)

24. pergola [ˈpɜːɡələ] – беседка

25. quirk [kwɜːk] – изгиб; закругление, архит. небольшой желобок

26. remain [rɪˈmeɪn] – оставаться сохраняться

27. rescue [ˈrɛskjuː] – спасать, избавлять; освобождать

28. reveal [rɪˈviːl] – обнаруживать, раскрывать

29. rotunda [rəʊˈtʌndə] – ротонда(круглая постройка, обычно с куполом)

30. set designer – художник по декорациям, кинодекоратор

31. sketch [skɛtʃ] – эскиз, набросок; зарисовка 32. span – пролёт(моста);расстояние между опорами(арки, свода)

33. spot – место, местность, район; небольшой участок местности

34. structural engineering – проектирование зданий и сооружений

35. suspension bridge [səˈspɛnʃ(ə)n brɪdʒ] – висячий мост; цепной мост

36. townhouse [ˌtaʊnˈhaʊs] – таунхаус (одноквартирный дом, составляющий часть сплошного ряда домов с общими боковыми стенами)

37. turmoil [ˈtɜːmɔɪl] – шум, суматоха; беспорядок

21

38. inspire [ɪnˈspaɪə] – вдохновлять, воодушевлять; стимулировать

39. particularly [pəˈtɪkjʊləlɪ] – особенно, в особенности

40. rock – горная порода; скальная порода камень

II. Mind the pronunciation of the following words:Zürich [ˈzʊərɪk], Switzerland [ˈswɪtsələnd], Albert Einstein [ˈælbət ˈaɪnstaɪn],

veterinary [ˈvɛt(ə)rɪn(ə)rɪ], Vatican [ˈvætɪkən], Mediterranean [ˌmɛdɪt(ə)ˈreɪnɪən],inquisition [ˌɪnkwɪˈzɪʃ(ə)n], agricultural [ˌæɡrɪˈkʌltʃ(ə)rəl], symmetry [ˈsɪmɪtrɪ],knight [naɪt].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Santiago CalatravaIn 2013 the Vatican Museums held a major exhibition

entitled “The metamorphoses of space” celebrating the workof the great Spanish architect and revealing the multiple facetsof his career: not only an architect, he is also an engineer,ceramist, set designer, painter and sculptor. Each one of hisprojects is accompanied by watercolour paintings explainingthe thinking behind his work and his poetics.

Calatrava was born in 1951 in Spain’s Mediterraneancoastal city of Valencia, and grew up in nearby Benimamet.His mother’s family were of Jewish heritage, but hadnominally converted during the Spanish Inquisition of thefifteenth century. His Calatrava surname was an old

aristocratic one from medieval times, and was once associated with an order ofknights in Spain. Both sides of his family were involved in the agricultural exportbusiness.

The family's hillside home was imposing, with large rooms that Calatrava laternamed as an inspiration for his attraction to major projects and big spaces. ThoughCalatrava's father was oriented toward commercial activities at work, he loved art andtook his son to see Spain's greatest museum, the Prado in Madrid. Calatrava started toshow an interest in sculpture and drawing, and by the time he was eight he hadenrolled in art classes in Valencia. In his teens, he traveled to Paris as an exchangestudent, and also visited Switzerland before returning to Valencia to finish highschool.

Calatrava enrolled at its Institute of Architecture. He also studied urbanplanning at the school. After graduating in 1974, he traveled to Zürich, Switzerland,to enroll at the city’s Federal Institute of Technology, where Albert Einstein had oncestudied. He earned two Ph.Ds. from the school, the first in structural engineering andthe second in technical science. The structural-engineering training was a somewhatunusual choice of study for an architect, for few in either field are trained in both. But

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Calatrava was fascinated by the construction of large, load-bearing buildings, and thetechnical expertise he gained would later make his name as an architect.

At the Zürich institute, Calatrava and his fellow students tried to solve unusualgravity and design challenges. They once built a donut-shaped swimming pool in therotunda of the school, suspended by cables from the ceiling and made of a transparentsheeting material that allowed viewers to watch swimmers from below. His 1981Ph.D. dissertation was titled “On the Foldability of Space Frames,” and aftermarrying a Zürich law student he decided to remain in the city.

In 1982 Calatrava won a competition asking architects to submit a redesign forthe Zürich train station, Stadelhofen. His sketches showed curving avenues leading tothe various modes of transportation – for the trains, cars, buses, pedestrians – withsteel pergolas supporting a skeletal framework above. The entire building, whenfinished, seemed to resemble a ribcage. These curving spines, usually of pouredconcrete but still delicate-looking, would become a hallmark of Calatrava's style.They were inspired quite directly by an actual skeleton: while in school in Zürich, hehad once helped a veterinary student complete some drawings for a project, and asthanks the student gave him the skeleton of a dog. Calatrava hung it in his office, andhis young son named it Fifi.

As a structural engineer, he was particularly fascinated by bridges, and begantaking on these projects, too, though local authorities did not usually hire architects todesign them. Over the next dozen years, he would complete almost 50 spans aroundthe world, but most of them in Europe. Usually suspension bridges, Calatrava's workswere often made from white concrete, which reflected the water’s light, and steelcables. They often defied the reassuring standard of symmetry in bridge design, andfeatured a quirk that resembled something organic, such as a bird's wing in flight. “Ilove being an architect of bridges,” Calatrava confessed to Alan Riding of the NewYork Times."Every bridge has to be different. It is made for different people, aboveall for different surroundings. It can be in a horrible urban spot, but it can rescue itsenvirons."

But Calatrava explained his philosophy, noting that “movement gives an addeddimension to form. It makes form a living thing. Instead of thinking of a building assomething mineral, like a rock, we can start to compare a building to the sea, whichhas waves that move, or to a flower whose petals open in the morning. This is a new,more poetic understanding of architecture.”

Calatrava and his family, which includes four children, live in a Park Avenuetownhouse in Manhattan. His wife, Tina, the former law student, serves as hisbusiness manager, and oversees the details of offices in Zürich, Valencia, and Paris.He continues to be inspired by Fifi…

Notes:1. He earned two Ph.Ds- получил две докторские степени2. “On the Foldability of Space Frames”- “О складываемости объемных

конструкций”

IV. Answer the following questions:

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1. Who was Fifi? How was Calatrava inspired by Fifi?2. What has become a hallmark of Calatrava's style? Give examples.3. Calatrava has got a new, more poetic understanding of architecture, hasn’t he?

Explain this philosophy.4. What was his family background? And how did it affect his life?5. Did he study hard to become a prominent architect? Prove it.6. How did Calatrava explain his attraction to big spaces?7. What unusual challenges did he try to solve while being a student?8. Why was he fascinated by bridges? And what was his professional secret in

designing bridge spans?

Text 6. Santiago Calatrava’s architecture (7,601)

I. Learn the following words and expressions:1. ample [ˈæmp(ə)l] – просторный; обширный 2. arch [ɑːtʃ] – арка; свод, аркада; антиклинальная складка3. awning [ˈɔːnɪŋ] – навес, тент, укрытие4. cellar [ˈsɛlə] – подвал, погреб5. chancel [ˈtʃɑːns(ə)l] – алтарь6. contribution [ˌkɒntrɪˈbjuːʃ(ə)n] – вклад, ценные достижения7. core [kɔː] – сердцевина; ядро; глубинная, внутренняя часть 8. crown [kraʊn] – венчать, увенчивать, завершать(верхнюю часть чего-

л.); покрывать вершину, верхушку(чего-л.)9. cutting-edge – самый современный (изготовленный с применением

передовых технологий)10.dimetric [daɪˈmɛtrɪk] – тетрагональный11.entertainment [ˌɛntəˈteɪnmənt] – зрелище, представление12.feather [ˈfɛðə] – перо оперяться13.fin – ребро, пластина; плавник(рыбы) 14.fix [fɪks] устанавливать; прикреплять; закреплять15.fixed arch – бесшарнирная арка16.floating arch – плавучая арка17.flood [flʌd] – наводнение; половодье; разлив18.flying buttress [ˈbʌtrəs] – аркбутан, контрфорсная арка19.height [haɪt] – высота, вышина верх, высшая степень20.indigenous [ɪnˈdɪdʒ(ə)nəs] – местный, туземный, природный21.lobby [ˈlɒbɪ] – вестибюль, приемная, холл; коридор; фойе22.lounge [laʊndʒ] – гостиная, комната для отдыха с удобными креслами,23.marble [ˈmɑːb(ə)l] – INCLUDEPICTURE

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24.nave [neɪv] – неф (церкви)25.pentagon [ˈpɛntəɡ(ə)n] – пятиугольник, пятигранный

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26.picturesque [ˌpɪktʃəˈrɛsk] – живописный(о ландшафте);колоритный(о внешнем виде)

27.pointed arch – стрельчатая арка28.pour [pɔː] – лить, отливать29.prow [praʊ] – нос(судна, самолёта)30.pupil [ˈpjuːp(ə)l] – зрачок, ученик; малолетний; подопечный31.reach [riːtʃ] – простираться; доходить, размах, амплитуда32.resemble [rɪˈzɛmb(ə)l] – походить, иметь сходство33.rest (rest (up)on / in) – держаться, основываться, опираться34.ribbed vault [vɔːlt] – нервюрный/ребристый свод35.rotate [rəʊˈteɪt] – вращать, вращаться чередовать; 36.shutter [ˈʃʌtə] – затвор, заслонка37.sunbreak [ˈsʌnbreɪk] – бетонный козырек над окном38.surround [səˈraʊnd] – окружать; обносить, обрамление; край, кромка,39.translucent [trænzˈluːs(ə)nt] – полупрозрачный 40.twist – крутить, скручивать вращать, поворачивать

II. Mind the pronunciation of the following words:Sweden [ˈswiːdn], Malmö [ˈmɑːlmɜː], Hemesferic [ˏhemɪˊsferɪk], whole [həʊl],Milwaukee [mɪlˈwɔːkiː], brochure [ˈbrəʊʃə], concierge [kɒnsɪˈɛəʒ],inauguration [ɪ

ˌnɔːɡjʊˈreɪʃ(ə)n], chromosome [ˈkrəʊməsəʊm], auditorium [ˌɔːdɪˈtɔːrɪə],occasion [əˈkeɪʒ(ə)n], illusion [ɪˈluːʒ(ə)n], planetarium [ˌplænɪˈtɛ(ə)rɪəm]magisterial [ˌmædʒɪˈstɪ(ə)rɪəl], ultrasonic [ˌʌltrəˈsɒnɪk], weigh [weɪ].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

The Turning Torso is the tallest skyscraper in Sweden and in the Nordiccountries, situated in Malmö. The project was designed by the Spanish architectSantiago Calatrava and officially opened on 27 August 2005. The tower reaches aheight of 190 metres with 54 stories – 147 apartments, a relaxation and spa area, alounge, a gym and a wine cellar followed by around-the-clock concierge service 365days a year. The vision of the Turning Torso is based on a sculpture called TwistingTorso, which is a white marble piece based on the form of a twisting human body,created by Santiago Calatrava. In 1999 Malmö’s former managing director saw thesculpture in a brochure presenting Calatrava in connection with his contribution tothe architectural competition. It was on this occasion that the managing director wasinspired to build Turning Torso. Shortly afterwards he travelled to Zurich to meetCalatrava, and ask him to design a residential building based on the idea of astructure of twisting cubes.

The Turning Torso

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This is a solid immobile building constructed in nine segments of five-storypentagons that twist relative to each other as it rises; the topmost segment is twisted90 degrees clockwise with respect to the ground floor. Each floor consists of anirregular pentagonal shape rotating around the vertical core, which is supported by anexterior steel framework. The two bottom segments are intended as office space.Segments three to nine house 147 apartments. The construction of part of thisbuilding was featured on Discovery Channel's Extreme Engineering TV programwhich showed how a floor of the building was constructed.

Illustration of the general structureof the Turning Torso. (1) shows a typicalfloor plan, where the grey circle denotesthe core and blue shapes denote the steelframework. (2) shows the way the ninesegments fit around the core, and (3) is adimetric projection of the tower.

The City of Arts and Sciences is an entertainment-based cultural andarchitectural complex in the city of Valencia, Spain. It is the most important moderntourist destination in the city of Valencia. The City of Arts and Sciences is situated atthe end of the former riverbed of the river Turia, which was drained and reroutedafter a catastrophic flood in 1957. The old riverbed was turned into a picturesquesunken park. Designed by Santiago Calatrava and Félix Candela, the projectunderwent the first stages of construction in July 1996.The complex is made up of thefollowing buildings, in order of their inauguration:

The Hemesferic

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The Hemesferic is an IMAX Cinema, planetarium and laserium. The buildingis meant to resemble a giant eye, and has an approximate surface of 13,000 m². TheHemesferic also known as the planetarium or the “eye of knowledge,” is thecenterpiece of the City of Arts and Sciences. It was the first building completed in1998. Its design resembles an eyelid that opens to access the surrounding water pool.The bottom of the pool is glass, creating the illusion of the eye as a whole. Thisplanetarium is a half-sphere composed of concrete 110 meters long and 55.5 meterswide. The shutter is built of elongated aluminum awnings that fold upwardcollectively to form a sunbreak roof that opens along the curved axis of the eye. Itopens to reveal the dome, the pupil of the eye, which is the Ominax theater. The Cityof Arts and Sciences is divided in half by a set of stairs that descend into the vaultedconcrete lobby. The underground spaces are illuminated with the use of translucentglass panels within the walking path. The transparent roof is supported by concretearches that connect to the sunken gallery. There is a miraculous echo inside of thebuilding and if two people stay on the two opposite pillars inside of the eye they canseamlessly speak with each other.

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Interactive museum of science

Interactive museum of science — is a building that resembles the skeleton of awhale. It occupies around 40,000 m² on three floors. The hotch-potch of exhibits isdesigned more for ‘entertainment value’ than for science education. Much of theground floor is taken up by a basketball court sponsored by a local team and variouscompanies. The building is made up of three floors and 26,000 square meters ofwhich is used for exhibitions. The first floor has a view of the Turia Garden thatsurrounds it; which is over 13,500 square meters of water. The second floor hosts“The Legacy of Science” exhibition by the researchers. The third floor is known asthe “Chromosome Forest” which shows the sequencing of human DNA. Also on thisfloor is the “Zero Gravity, ”the“ Space Academy”, and “Marvel Superheroes”exhibition. The building’s architecture is known for its geometry, structure, use ofmaterials, and its design around nature. The building is about 42,000 square meterswhich is currently the largest in Spain. It has 20,000 square meters of glass, 4,000panes, 58,000 m³ of concrete, and 14.000 tons of steel. This magnificent buildingstands 220 meters long, 80 meters wide and 55 meters high.

The UmbracleThe Umbracle is a landscaped

walk with plant species indigenous toValencia (such as rockrose, rosemary,lavender, honeysuckle, palm tree). Itharbors in its interior the Walk of theSculptures, an outdoor art gallery withsculptures by contemporary artists.(Miquel de Navarre, Francesc Abbot,Yoko Ono and others). The Umbracleis also home to numerous free-standing

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sculptures surrounded by nature. It was designed as an entrance to the City of Artsand Sciences. It is 320 meters long and 60 meters wide, located on the southern sideof the complex. It includes 55 fixed arches and 54 floating arches that stand 18meters high. The plants displayed were carefully picked to change colours with eachseason.

The Palau de Les Arts

The Palau de Les Arts is an opera house and performing arts center. It containsfour large rooms: a Main Room, a Magisterial Classroom, an Amphitheater and aTheater of Camera. It is dedicated to music and the scenic arts. It is surrounded by87,000 square meters of landscape and water, as well as 10,000 square meters ofwalking area. It holds many events such as opera, theatre and music in itsauditoriums. Panoramic lifts and stairways connect platforms at different heights onthe inside of the metallic frames of the building. The building has a metallic featherouter roof that rests on two supports and is 230 meters long and 70 meters high. Oneof the supports allows for part of the building to overhang. The building is supportedby white concrete. Two laminated steel shells cover the building weighing over 3,000tons. These shells are 163 meters wide and 163 meters long.

The Agora

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The Agora is a space designed to hold a variety of events such as concerts,performances, exhibitions, conventions, staging of congresses, and internationalsports meetings. Many important events have been held in this building including theFreestyle Burn Spanish Cup in 2010 and the Christmas Special Program.

The Milwaukee Art MuseumThe Milwaukee Art Museum (MAM) is an art museum located in Milwaukee,

Wisconsin, USA with a collection of over 30,000 works of art. The museum receivesover 350,000 visitors a year. The Milwaukee Art Center was formed when theMilwaukee Art Institute and Layton Art Gallery merged their collections in 1957. In2001 the Quadracci Pavilion was created by Spanish architect Santiago Calatrava.The structure incorporates both cutting-edge technology and old-worldcraftsmanship. The hand-built structure was made largely by pouring concrete intoone-of-a-kind wooden forms. It is a building that could have only been done in a citywith Milwaukee’s strong craft tradition. Windhover Hall is the grand entrance hall forthe Quadracci Pavilion. It is Santiago Calatrava’s postmodern interpretation of aGothic Cathedral, complete with flying buttresses, pointed arches, ribbed vaults, anda central nave topped by a 90-foot-high glass roof. The hall’s chancel is shaped likethe prow of a ship, with floor-to-ceiling windows looking over Lake Michigan.

One of the most striking features of the building is the moveable sunscreen,resembling the large tail of a whale about to descend beneath the sea. It rests on topof the Museum’s vaulted, glass-enclosed Windhover Hall. Moveable, wing-likesunscreen has a wingspan comparable to that of a Boeing 747-400. The screen ismade up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structureweighs 90 tons. It takes 3.5 minutes for the wings to open or close. Ultrasonic windsensors on the fins continually monitor wind speed and direction; whenever winds

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exceed 23 mph for more than 3 seconds, the wings close automatically. According toSantiago Calatrava, “in the crowning element of the wing-like sunscreen, thebuilding’s form is at once formal (completing the composition), functional(controlling the level of light), symbolic (opening to welcome visitors), and iconic(creating a memorable image for the Museum and the city).”

Notes:1. The Palau de les Arts Reina Sofía – Дворец искусств Королевы Софии 2. The Ágora – Агора 3. The Hemisferic – Полусфера 4. The Umbracle is a landscaped walk – Оранжерея Umbracle5. The Turning Torso – небоскреб “Поворачивающееся тело/торс”6. Milwaukee – город Милуоки, США7. laserium – театр лазерных постановок

8. Magisterial Classroom – зал для чтения лекций и проведения камерныхмероприятий

9. Marvel Superheroes – персонажи комиксов компании Marvel 10.zero gravity – невесомость11.about to descend beneath the sea – готовый погрузиться в морскую

пучину 12.The hotch-potch of exhibits – совокупность экспонатов

IV. Answer the following questions:

1. Why is the Hemesferic known as the “eye of knowledge”?2. What building was featured in Extreme Engineering TV program on Discovery

Channel? Why? Describe its general structure.3. What modern tourist destination in the city of Valencia can you name? And

what is so special about that place of interest?4. Which of Calatrava’s works received the Outstanding Structure Award? Why?5. Whom does the idea of building The Turning Torso belong to? What was the

idea based on?6. Why was it decided to place the city of Arts and Sciences on the riverbed?7. What are the components of the city of Arts and Sciences?8. Where were translucent glass panels used? And what was the purpose of their

usage?9. Which building resembles the skeleton of a whale and what does it host?10.Comment on the following statement : “Calatrava’s works are modern yet

understandable, and sculptural but purposeful”.

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Text 7. Massimiliano Fuksas (4,664)"We have to work with chaos, rather than order”

I. Learn the following words and expressions:1. accident [ˈæksɪd(ə)nt] – несчастный случай; катастрофа; 2. achievement [əˈtʃiːvmənt] – достижение,успех3. advanced [ədˈvɑːnst] – передовой, прогрессивный; развитой;4. appropriate [əˈprəʊprɪɪt] – подходящий, уместный5. aspirations [ˌæspɪˈreɪʃ(ə)n] – стремление, желание(достигнуть ч-л.)6. badge [bædʒ] – значок; эмблема, символ; признак; знак7. be keen on smth – очень любить что-л., увлекаться чем-л. 8. cathedral [kəˈθiːdrəl] – собор; непререкаемый, непреложный9. cemetery [ˈsɛmɪtrɪ] – кладбище10.dedicate [ˈdɛdɪkeɪt] - посвящать11.delete [dɪˈliːt] – вычеркивать, стирать, исключать;12.demolish [dɪˈmɒlɪʃ] – разрушать, уничтожать; сносить13.descent [dɪˈsɛnt] – происхождение; родословная; источник14.destruction [dɪsˈtrʌkʃ(ə)n] – разрушение, уничтожение15.differ [ˈdɪfə] – отличаться; различаться, расходиться во мнениях, не

соглашаться16.disparage [dɪsˈpærɪdʒ] – принижать; недооценивать, умалять17.elect [ɪˈlɛkt] - избирать, решать, делать выбор18.establish [ɪˈstæblɪʃ] – основывать, учреждать19.honour [ˈɒnə] – честь, благородство20.impose [ɪnɪˈpəʊz] – налагать [вводить] (запрет);предписывать21.intelligence [ɪnˈtɛlɪdʒ(ə)ns] – ум, интеллект, сведения, информация22.intuition [ˌɪntjnˈɪʃ(ə)n] – знания, основанные на интуиции23.know-how [ˈnəʊhaʊ] - умение; знание дела, секрет изготовления, 24.landscape [ˈlændskeɪp] – ландшафт; пейзаж, рельеф25.low-income housing – жилье экономического класса26.miss – обнаружить отсутствие, недоставать27.mosque [mɒsk] – мечеть28.partnership [ˈpɑːtnəʃɪp] – сотрудничество29.prevent [prɪˈvɛnt] – предотвращать, предупреждать; предохранять30.renovate [ˈrɛnəveɪt] – ремонтировать, реконструировать, освежать31.responsible [rɪˈspɒnsəb(ə)l] INCLUDEPICTURE

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32.representative [ˌrɛprɪˈzɛntətɪv] – представитель, делегат33.rural [ˈrʊ(ə)rəl ] - сельский, деревенский34.seek [siːk] – искать, разыскивать; добиваться35.source [sɔːs] – источник, основа; начало36.spiral [ˈspaɪ(ə)rəl] – спираль, винтовая линия, предмет спиральной

формы37.state [steɪt] – заявлять; утверждать; констатировать

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38.suburbs [ˈsʌbɜːb] – пригород, окраина; окрестности,39.tiny [ˈtaɪnɪ] - очень маленький, крошечный40.tufa [ˈtjuːfə] - известковый туф,II. Mind the pronunciation of the following words:

Baltic [ˈbɔːltɪk], Hagia Sophia [ˌhaɡɪə səˈfiːə], Vienna [vɪˈɛnə], Venice [ˈvɛnɪs],Lithuanian [ˌlɪθjʊˈeɪnɪən], Afghanistan [æfˈɡænɪstæn], Buddha [ˈbʊdə], Etruscan[ɪˈtrʌskən], Stuttgart [ˈʃtʊtɡɑːt], Salzburg [ˈsɔːlzbəːɡ], Berlin [bɜːˈlɪn]organization [ˌɔːɡənaɪˈzeɪʃ(ə)n].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Massimiliano FuksasHis biography’s first line states he was born in

Rome, but is of Lithuanian descent. One of the mostdistinctive, if unpredictable, architects in the world, nevermind Italy, is still proud of his links to a tiny Baltic state.

For Massimiliano Fuksas it is more a badge ofhonour that proves he is a global citizen rather than aparochial nationalist. One grandmother was German, hisfather was Lithuanian Jew and mother – Roman, whosecultural viewpoints differed. “I'm a strange Italian,” he

says. “Actually, I'm more Roman than Italian. I have a crazy sense of organization. ARoman has craziness alone while Germany has only order; I put them together.”

Fuksas originally trained as an artist and came to architecture almost byaccident. “I started as a painter and thought I could be a film maker, but I thought Iwould give architecture a go.” He received his degree in architecture from the LaSapienza University in 1969 in Rome, where he opened his first office in 1967, whilestill studying. “I think an architect is always a creator as an artist, though thetechnique is less important than the inspiration.” Like an artist, Fuksas seeks ideasfrom all manner of sources around him. “I never look for inspiration in architecture, Ilook at art, movies and landscapes, like dunes or forests.”

Although playful in his views, Fuksas boasts strongly held beliefs, but Fuksasis wary of innovation. “The best innovation is to give people a place to live that isappropriate for their lives. We need to understand better men, women and children.Democracy is the real innovation in architecture today.” For Fuksas, democracymeans less locally elected representatives, but more being open to the views andaspirations of ordinary people. “You only realise what democracy is when you don'thave it, like when you lose freedom. When you see the destruction of the goldendome of Samarra or the Buddhas in Afghanistan, you feel that you have lostsomething. Architecture is part of the community. I always seek to create a stage forthe players, the people. I don't want to impose anything or decide how people shouldmove.”

Initially, he practiced his art in cemeteries. In the cemetery of Orvieto, hereturned to the old Etruscan tradition using tufa to build a wall. From 1985 he has

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worked in partnership with his wife, Doriana Mandrelli. Fuksas has taught at Rome,Stuttgart, at Columbia University in New York, Hanover and at the Academy of FineArts in Vienna (until1997). In 1989, he opened his second branch in Paris, and in1996, the third workshop in Vienna (Austria). In July 1998, he was responsible forthe architecture of the city of Venice and the boards of architectural achievements inBerlin and Salzburg.

Fuksas is concerned that architects are too keen to find a technical solution tosolve a design problem rather than looking at the needs of users of a building. He iseven more disparaging about architectural theories.”We have reached the end of theidea that we can find a solution with knowledge of science. Today we should usemore intuition than intelligence. I don't believe in theory or even pragmatism, onlyemotion and inspiration; the quality you can give to the feeling of a vision. Alltheories have been found to be false, none were good. They were good for a period,but not for eternity. If you want to give emotion to other people, you have to besurprised every day. If you go one day without surprise, you cannot have emotion."The biggest challenge is how to deal with a world of six billion people, many ofwhom are moving every day from rural areas to cities. My answer is we have to workwith chaos, rather than order. I call this sublime chaos. We have to be fast, becauseyou always need fresh concepts and not ideas that quickly become boring.” And asfor really advanced concepts in the history of architecture he distinguishes: “numberone is Hagia Sophia in Istanbul because it was a new concept of space. Hagia Sofiawas built as a cathedral and transformed into a mosque. It is now a museum. It lookslike it floats on air. Secondly, the Sydney Opera Hall built in 1960s, which waslandscape architecture. Thirdly, it’s Frank Lloyd Wright's Guggenheim Museum. Heprojected the emptiness, and then made the walls. It looks like the walls come out ofthe emptiness instead of the other way around. You think about the spiral but notabout the walls of the spiral.”

For many years he has dedicated his special attention to the study of urbanproblems and in particular to the suburbs. “For future architecture, we shouldrenovate a lot of buildings and demolish some of them completely, like the low-income housing built in the 1970s. Not because they are ugly, but because theyrepresent areas of suffering where people are unhappy. The first consideration inarchitecture is to think about people's happiness. We should also construct a new ideaof a city. A new pedestrian city with more trees, where social relationships are betterand people can meet. I'd get rid of the traffic in the center. We could make anunderground transportation system using trains and subways. It wouldn’t be hard.The best thing about architecture is to delete rather than to add. To have the entirehistoric center of Rome as a pedestrian zone would be one of the most beautifulthings in its history. Again, it's possible. We have the technology and know-how.What we're missing is the will. We need politicians who think environmentally andrealistically.” Since January 2000, he writes the architecture column of the weeklypublication L' Espresso, established by Bruno Zevi.

Notes:

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1. Buddha – Будда (или Сиддхартха Гаутама) был духовным наставникоми основателем буддизма в Древней Индии

2. Samarra – Самарра - город в Ираке3. Etruscan – Этрусская цивилизация, населявшая в I тыс. до н. э. северо-

запад Апеннинского полуострова 4. to give architecture a go – попробовать себя в архитектуре. 5. boasts strongly held beliefs – гордится признанным мнением

IV. Answer the following questions:1. What does democracy mean to Fuksas?2. Where does he look for inspiration and seek ideas?3. Why is Fuksas considered to be a global citizen?4. Explain his words : “The best thing about architecture is to delete rather than to

add”5. Where did he practise his art first?6. What are his three top historical World Wonders?7. What Fuksas’ ideas do you share and support? Why? Why not?8. What urban problems has he dedicated his attention to?9. What are his main career milestones?10.What prevents urban architecture from evolving and developing, according to

Fuksas?

Text 8. Architecture of Massimiliano Fuksas (4,582)

I. Learn the following words and expressions:1. adhesion [ədˈhiːʒ(ə)n] – прилипание; слипание; склеивание .2. alternate [ɔːlˈtɜːnɪt] – поочередный,(по)переменный, чередующийся 3. association [əˌsəʊsɪˈeɪʃ(ə)n] – союз, ассоциация, сотрудничество 4. axis [ˈæksɪs] – ось, осевая линия, вал, шпиндель5. beam [biːm] – брус; балка6. bear [bɛə] – переносить, носить, нести 7. benefit [ˈbɛnɪfɪt] – выгода, прибыль, польза, благо8. bilinear [baɪˈlɪnɪə] – билинейный ,двухлинейный9. civil [ˈsɪv(ə)l] – гражданский10.decrease [diːˈkriːs] – уменьшать; убавлять, сокращать11.dense [dɛns] – густой, плотный; непрозрачный12.determine [dɪˈtɜːmɪn] – определять, устанавливать13.dimention [d(a)ɪˈmɛnʃ(ə)n] – величина; объем; протяжение,

измерение14.envelope [ˈɛnvələʊp] – обертка ,обложка, оболочка15.evoke [ɪˈvəʊk] – вызывать, пробуждать16.expansion [ɪkˈspænʃ(ə)n] – рост, развитие, расширение, увеличение 17.experience [ɪkˈspɪ(ə)rɪəns] – опытность; опыт работы 18.façade [fə|ˈsɑːd] – фасад

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19.fiber [faɪbə] – волокно20.lead [liːd] – вести; возглавлять21.load [ləʊd] – груз, ноша, тяжесть, бремя, нагрузка22.maritime [ˈmærɪtaɪm] – морской23.optimize [ˈɒptɪmaɪz] – выбирать самое выгоднейшее решение24.oscillation [ˌɒsɪˈleɪʃ(ə)n] – качание, колебание, неустойчивость 25.panel [ˈpænl] – панель; филенка26.perpetual [pəˈpɛtʃʊəl] – вечный, бесконечный27.pillar [ˈpɪlə] – столб; стержень колонны, колонна, стойка; опора28.precious [ˈprɛʃəs] – драгоценный; большой ценности 29.quarter [ˈkwɔːtə] – квартал, четверть30.release [rɪˈliːs] – освобождать, избавлять31.resin [ˈrɛzɪn] – смола; канифоль ,сырой каучук32.rotation [rəʊˈteɪʃ(ə)n] – вращение; оборот; чередование 33.slab [slæb] – плита; лист, пластина34.spacial – пространственный35.staircase [ˈstɛəkeɪs] – лестница, лестничный марш36.stretch [strɛtʃ] – растягивать, вытягивать, удлинять, тянуть37.surface [ˈsɜːfɪs] – поверхность, вид, внешность, наружность38.tower [ˈtaʊə] – выситься, возвышаться39.vibration [vaɪˈbreɪʃ(ə)n] – вибрация, колебание; дрожание40.void [vɔɪd] – пустота; вакуум, лакуна

II.Mind the pronunciation of the following words:Georgia [ˈdʒɔːdʒɪə], [ˈdʒɔːdʒjə], among [əˈmʌŋ], commercial [kəˈmɜːʃ(ə)l],

horizontally [ˌhɒrɪˈzɒnt(ə)lɪ], non-directional [ˌnɒndɪˈrɛkʃ(ə)nəl], Netherlands[ˈnɛðələndz], indentation [ˌɪndɛnˈteɪʃ(ə)n].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

Tbilisi Public Service Hall

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The Tbilisi Public Service Hall is situated in the central area of the city and itoverlooks the Kura river. The building is made up of 7 volumes that contain offices(each volume is made up of 4 floors located on different levels). These volumes areplaced around a “central public square”, which is the core of the project, where thereare the front office services. Offices are connected to each other by internalfootbridges that stretch on different levels. Volumes and the central public space aretowered above by 11 big “petals” that are independent both formally and structurallyfrom the rest of the building. Three of those big petals cover the central space. Thepetals, different for their geometry and dimension, reach almost 35 meters and theyare supported by a structure of steel pillars with a tree-like shape, coated in glass fiberand resin. Among the petals, which are at different levels, there are the glass facades.The main characteristic of these facades is that these have been released completelyfrom the structure of the petals, allowing relative movements between the facade andthe spatial network structure of coverage. This decision was taken to prevent that anymovement of the cover, mainly due to oscillations for snow loads, wind or thermalexpansion, can lead to the crisis of the glass. The Tbilisi Public Service Hall includes:the National Bank of Georgia, the Ministry of Energy, the Civil and NationalRegistry.

The Admirant Entrance Building

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The Admirant Entrance Building is part of a developed shopping area set in thehistoric centre of the city Eindhoven, the Netherlands. It is located just at the borderbetween the new quarter and the 18th September square, forming the main gatewayto a new shopping axis. This prominent position called for an iconic building: arequest that the Admirant Entrance Building fulfilled entirely. It is like a preciousjewel that attracts the public’s attention and leads pedestrians to the heart of the newdistrict. Dynamics go in different directions and with varying intensity. This furtherflow of speed has its origin in the contrast of the two facade materials: crystalline, themaritime blue of the glass is in contrast to the dense and clear white panels. Open andclosed surfaces alternate smoothly and flow over softly. The building’s shaperesembles a (half-) droplet, or egg; the largely transparent glass facade shows theoccasional indentation. This modern architectural design – known as BLOB(BiLinear OBject) – has caused quite a stir in Eindhoven. Because of the building’sshape, the floor space decreases with each storey also, the 2nd, 3rd and 4th floorshave large voids, stretching out to the faсade.

The building consists oftwo elements: the 5-storey highprimary concrete structure andthe glass and steel envelope.Commercial spaces are locatedon the ground and first leveland office spaces on level threeand four (plus an additionaltechnical level).The geometryof the facade varies from

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vertical surfaces to amorphous shapes, which create a dynamic inside of the building.In fact, the floors – which shapes are determined by the form of the facade – reachthe 950 m² on the ground floor and 250 m² on the highest office level. Except for thestaircase, no vertical elements block the visual connections on the inside of thebuilding. The steel construction is non-bearing, because of the glass facade; theconcrete framework (floors, walls and columns) are therefore self-supporting. Theframework also provides for stability, where as the glass facade is only supportedhorizontally on storey-level. The concrete skeleton was designed as a 3-Dimensionalmodel. For the entire concrete framework it has an important benefit: the adhesionfactor can easily be determined, which means that the column positions are relativelyeasily optimised, in agreement with the architecture. The same model was used tocalculate the weight- and stability figures, as well as the required amount ofreinforcement in the storey floors. Furthermore, due to the non-orthogonal shape, theAdmirant is non-directional. There is no front or back. Looking at this from a certaindistance, it is noticeable that the building is in a rotation. Perhaps a similarappearance to a marine mammal that rises to the surface shows itself for the briefestmoment, and then sinks immediately into the depths again.

The project of Massimiliano and Doriana FuksasIt was conceived as a symphony of architectural volumes, creating the effect of

a music that you can listen to with your eyes. On a total area of about 110,000 squaremeters, the elliptical shape of each building gives the impression of a perpetualmotion and continuous vibration. The surface of the facade is a continuous ribboncoated with a metal skin with openings geometric design that allows natural light toenter the interior of the four volumes.

The complex is made up of a center for the performing arts that houses twotheatres for a total of 1800 seats and a music hall (600 seats), a cultural center thatincludes a theatre with 2600-3000 seats and an exhibition gallery, offices, Writer andLiterary Association, an apartment building for artists. All surrounded by greengardens that evoke the eastern hills of China, with their colorful vegetation.

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Notes:1. The Admirant Entrance Building – торговый центр Admirant в городе

Эйндховен, Нидерланды. 2. …called for an iconic building – предполагало необходимость

выдающегося сооружения.

III. Answer the following questions:1. Is the designing concept of the Tbilisi Public Service Hall common or complex?

Prove your point of view.2. What does it host?3. Where is The Admirant Entrance Building located?4. What is it used for?5. What new architectural design was applied to construct the building?6. Has the 3D computational model any important benefit in designing the

structure?7. What are the elements of the building? And what are the materials used?8. What is unique about the Chinese project of Fuksas?9. Which buildings have the non-orthogonal shape?10. What is the impact of Fuksas’ architecture on ordinary people/citizens?

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Text 9. Arata Isozaki ( 5, 412)“The Mirage City”

I. Learn the following words and expressions 1. acknowledge [əkˈnɒlɪdʒ] – признавать, допускать,подтверждать2. aesthetic [iːsˈθɛtɪk] – художественные взгляды3. aesthetically [iːsˈθɛtɪk(ə)lɪ] – эстетически, в соответствии с

принципами эстетики, посредством чувственных ощущений4. aim – цель, намерение; стремление5. cantilever [ˈkæntɪˌliːvə] – консоль, кронштейн, укосина, консольный6. chamber of commerce [ˈtʃeɪmbə] – торговая палата(ассоциация

предпринимателей города, штата, защищающая интересы торгово-промышленных кругов)

7. collaboration [kəˌlæbəˈreɪʃ(ə)n] – сотрудничество; участие; совместная работа

8. conduct [kənˈdʌkt] – вести, руководить; проводить9. connection [kəˈnɛkʃ(ə)n] – связь, соединение, сцепление10.consideration [kənˌsɪdəˈreɪʃ(ə)n] – размышление; обсуждение;

рассмотрение; разбор11.contradiction [ˌkɒntrəˈdɪkʃ(ə)n] – противоречие; несоответствие12.cooperation [kəʊˌɒpəˈreɪʃ(ə)n] – сотрудничество, взаимодействие13.county [ˈkaʊntɪ] – графство(административная единица в

Великобритании)округ(административное подразделение штата в США)14.crowd [kraʊd] – толпа; скопление людей15.display [dɪsˈpleɪ] – выставлять, показывать; демонстрировать16.enchant [ɪnˈtʃɑːnt] – очаровывать, восхищать17.exclusively [ɪkˈskluːsɪvlɪ] – исключительно; единственно; только18.flamboyant [flæmˈbɔɪənt] – яркий; вычурный; пышный19.graduate student – аспирант(человек, который получил университетскую

степень бакалавра и продолжает научную работу, чтобы получить ученую степень магистра)

20.haunted [ˈhɔːntɪd] – часто посещаемый, населенный(призраками и т. п.)21.head [hɛd] – направляться, держать курс, следовать22.honour [ˈɒnə] – чтить,удостаивать23.identify [aɪˈdɛntɪfaɪ] – отождествлять устанавливать подлинность;

распознавать24.impact [ˈɪmpækt] – ударять; толкать, (on)оказывать воздействие25.indebt [ɪnˈdɛt] – обязывать26.institution [ˌɪnstɪˈtjuːʃ(ə)n] – общество, организация, учреждение27.mature [məˈtʃʊə] – зрелый; спелый, зрелый, выдержанный созревший28.mentor [ˈmɛntə] – наставник, руководитель, воспитатель, куратор29.neoclassicism [ˌniːəʊˈklæsɪsɪz(ə)m] – неоклассицизм30. opportunity [ˌɒpəˈtjuːnɪtɪ] – удобный случай; благоприятная возможность31.own [əʊn] – владеть; иметь, обладать

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32.private [ˈpraɪvɪt] – частный; личный; персональный; неофициальный33.proceed [prəˈsiːd] – продолжать, приступать, переходить34.provide [prəˈvaɪd] (with) – снабжать; обеспечивать35.recognize [ˈrɛkəɡnaɪz] – узнавать, выражать признание, ценить36.root [ruːt] – источник, корень, первопричина37.rubble [ˈrʌb(ə)l] – бутовый камень, булыжник, валун38.stupa [ˈstuːpə] – ступа(монументальное культовое сооружение)39.synthesize [ˈsɪnθəsaɪz] – синтезировать, 40.utilitarian [juːˌtɪlɪˈtɛ(ə)rɪən] - практический, прагматический

II. Mind the pronunciation of the following words:Occasionally [əˈkeɪʒ(ə)nəlɪ] ,encyclopedia [ɪnˌsaɪkləˈpiːdɪə], burgeon [ˈbəːdʒ(ə)n],Metabolism [məˈtæbəlɪz(ə)m], Japanese [ˌdʒæpəˈniːz], Tokyo [ˈtəʊkɪəʊ], minimize

[ˈmɪnɪmaɪz], cultivated [ˈkʌltɪveɪtɪd], divorce [dɪˈvɔːs], touch [tʌtʃ].

III. Read and translate the text. Write out twenty more new words from the textand learn them.

The Japanese architect Arata Isozakideveloped a style which reflected both Japanesetraditions and Western post-modern and manneristinfluences. Arata Isozaki was born in Oita City,Japan, in 1931. His father was the president of thechamber of commerce and a cultivated poet who,along with his father, owned a successful truckingbusiness. Then the war came. In the confusion ofbombs, his mother was killed in an accident in

1945. By 1955 both his father and grandfather were dead and much of Japan still layin rubble. One would never know the haunted roots of Isozaki’s aesthetic fromtalking to him. He is cheerful, energetic and open with just a touch of wistfulness.Today he is working on his third marriage, to sculptor Aiko Miyawaki. After nearly20 years together he is fairly sure it will last. “Divorce was not so common in Japanin my generation, but after I lost my family there was no one in control.”

He studied with Kenzo Tange, one of Japan’s leading modern architects, at theUniversity of Tokyo from 1950 to 1954. He continued to work for and with Tange asa graduate student at the university and then in the firm from 1954 to 1963. At thatpoint Isozaki established his own practice but did not disassociate himself from hismentor, continuing to design occasionally for Tange in the 1970s. This attitude is inkeeping with native Japanese practices that stress collaboration and cooperation,rather than competition, among professionals.

Nearly all of the leading 20th-century Japanese designers have attempted tosynthesize indigenous traditions with Western forms, materials, and technologies.Isozaki’s “style” has in fact been a series of modes that have come as a response tothese influences. As a young architect he was identified with Metabolism, a

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movement founded in Japan in 1960. However, Isozaki minimized his connections tothis group, seeing the Metabolist style as overly utilitarian in tone. By contrast, in the1960s, Isozaki’s work featured dramatic forms made possible through theemployment of steel and concrete but not limited aesthetically by those materials. Hisdesigns of branch banks for the Fukuoka Mutual Bank of the mid-1960s arecharacteristic of this early phase of Isozaki’s career. The Oita Branch Bank (1966) isa representative of the group: its powerful cantilevered upper stories are morecharacteristic of his English contemporary James Stirling that of any of his fellowJapanese architects.

At the first opportunity, he traveled to Europe with the notion of lookingexclusively at modern buildings. Instead he became enchanted with classicalarchitecture. He headed home via the United States. He arrived home with a three-dimensional architectural encyclopedia imprinted on his mind. It included everythingfrom Corbusier-like minimalism to Platonic solids and East Indian stupas. Heproceeded to make buildings that did not look Japanese to the Japanese. In the 1970sIsozaki's architecture became more historical in its orientation, suggesting aconnection with the burgeoning post-modern movement of Europe and the UnitedStates. These connections Isozaki did acknowledge, and his work of the 1970srepresents a mature synthesis of formal, functional, and technical considerations. Arepresentative work of this period is his Fujimi Country Club, Oita City, constructedin 1973, which displays the love of pure form that also characterizes 18th-centuryFrench neoclassicism. The classic European barrel vault had never been usedsignificantly in Japan so he introduced it. Another French principle, “architectureparlante” (architecture that bespeaks its function), is also at work at Fujimi: bymassing the building in the shape of a question mark. “It was a private joke askingwhy the Japanese play so much golf.”

Later, his Western influences were decidedly mannerist, with Giulio Romanoand Michelangelo replacing the classicists as sources. Isozaki's Tsukuba City Centerof 1979-1983, located in Ibaraki, is a complex of buildings clearly indebted toMichelangelo's Campidoglio in Rome, but not at all limited by it. Chosen as theproject director for this urban development, Isozaki created a design that includedlarge, colorful buildings, a large plaza, and a sunken garden that provides as clear astatement of post-modern aims as any project built in Europe or the United States.

This new-found fascination with what post-modern guru Robert Venturi called“complexity and contradiction” coincided with Isozaki’s interest in building outsideof his native country. His Los Angeles County Museum of Contemporary Art (1984-1985) may be the best known structure by a Japanese designer in America. Isozakiwas, in fact, one of only a handful of Japanese architects to have some impact in theWest. In June 1997 the MOMA celebrated its 18th years by honouring 18 individuals,including the creator Isozaki.

Isozaki’s excellence was recognized in his native country and around theworld. One of the honours he received was the Asahi award, given to individuals whomake significant and lasting contributions to Japanese culture. He was also a multiplewinner of the Annual Prize awarded by the Japan Architectural Association. Since the

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early 1970s there have been several one-man shows honouring Isozaki’s work,including a London retrospective (1976).

A Japanese art and technology center with an opening exhibit by Isozaki called“The Mirage City” was presented to Krakow, Poland. The ceremony was conductedby President Lech Walesa and members of Japan’s imperial family, Prince andPrincess Takamado. Isozaki was a visiting professor at several Japanese andAmerican institutions, including the University of California at Los Angeles, theRhode Island School of Design, Columbia University, and the University of Hawaii.He also wrote extensively about his architecture and the principles behind it(although, unfortunately, few of these writings have been translated).

Arata Isozaki was instantly recognizable by his distinctive style of dress. Heoften wore traditional Japanese clothing, and he favoured the color black. Bypresenting himself as being sartorially distinct from the crowd, Isozaki provided acontemporary parallel to the flamboyant Frank Lloyd Wright, the famous Americanarchitect (and admirer of Japanese culture) who continued to affect Victorian dresslong after it passed out of style.

Notes:

1. architecture parlante (с франц.) «говорящая архитектура»(относится к зданиям, демонстрирующим свою функцию или сущность).

2. The Museum of Modern Art (MoMA) – художественный музей в Нью –Йорке, США

3. to keep with – соответствовать 4. one of only a handful of Japanese architects – один из немногочисленных

японских архитекторов5. passed out of style – вышло из моды

IV. Answer the following questions:

1. What connected Arata Isozaki with Kenzo Tange?2. Why didn’t he compete with other professionals? 3. How did his trip to Europe and The USA change his mind?4. What can you say about his family?5. What is Metabolism? And what’s its influence on Arata Isozaki?6. How can you distinguish his works in the 1960s and 1970s?7. What honours did he receive in Japan and abroad?8. How did he share his experience and knowledge of architecture?9. What features distinguish Arata Isozaki’s architecture from other ones to your

mind?10. What can you say about his sartorial style?

Text 10. Architecture of Arata Isozaki (6, 144)

I. Learn the following words and expressions:1. abide [əˈbaɪd] – следовать, соблюдать ,

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2. abide to architectural techniques – соблюдать архитектурные приемы

3. accommodate [əˈkɒmədeɪt] – подгонять, размещать; вмещать

4. accumulation [əˌkjuːmjʊˈleɪʃ(ə)n] – накопление; аккумуляция,

5. ambitious [æmˈbɪʃəs] – амбициозный, честолюбивый

6. arrange [əˈreɪndʒ] – классифицировать, систематизировать

7. ascend [əˈsɛnd] – подниматься продвигаться

8. centennial [sɛnˈtɛnɪəl] – вековой, столетний9. centre of gravity – центр тяжести

10. cylindrical [sɪˈlɪndrɪk(ə)l] – трубчатый,цилиндрический

11. development – строительство; застройка; стройка; сооружение

12. divide [dɪˈvaɪd] – делить, разделять

13. emphasize [ˈɛmfəsaɪz] – подчеркивать, придавать особое значение,

14. exude [ɪɡˈzjuːd] – выделяться; выступать,15. facilities – сооружения, средства, устройства; материальная база

16. feature [ˈfiːtʃə] – особенность, характерная черта; признак,17. full-fledged [ˌfʊlˈflɛdʒd] –полноценный, полномасштабный, с полным

набором средств

18. gravity [ˈɡrævɪtɪ] –серьезность, важность ,тяжесть; сила тяжести;

19. helix [ˈhiːlɪks] – спираль, винтовая линия, 2)архит.волюта, завиток;

20. hexagonal [hɛkˈsæɡənəl] – шестиугольный

21. installation [ˌɪnstəˈleɪʃ(ə)n] – установка, размещение; сборка, монтаж;.

22. light-emitting diode( LED) [ˈlaɪtɪˌmɪtɪŋˈdaɪəʊd] – светодиод

23. occupy [ˈɒkjʊpaɪ] – занимать(дом, квартиру);арендовать

24. off-kilter [ˌɒfˈkɪltə] – несбалансированный, эксцентричный, кривой

25. plateau [ˈplæ|təʊ] – плато, плоская возвышенность, плоскогорье

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26. plaza [ˈplɑːzə] – открытая площадка(перед городскими зданиями), торговый комплекс

27. promote [prəˈməʊt] – способствовать, содействовать, поддерживать, поощрять

28. prop up [prɒp] – подпирать; снабжать подпорками; поддерживать

29. reduce [rɪˈdjuːs] – снижать; сбавлять, уменьшать; сокращать

30. reminiscent [ˌrɛmɪˈnɪs(ə)nt] (of) – напоминающий, вспоминающий

31. scale [skeɪl] – масштаб(карты, чертежа);масштабное соотношение;шкала;

32. spectacular [spɛkˈtækjʊlə] – эффектный, захватывающий

33. stylize [ˈstaɪlaɪz] – стилизовать, изображать условно

34. sundial [ˈsʌndaɪəl] – солнечные часы

35. tessera [ˈtɛsərə] – мозаика для полов(из мрамора, стекла или камня);мозаичное покрытие; стеновая мозаика; тессера(небольшая пластинка или кубик мрамора, стекла, керамики, применяемые для создания мозаики)

36. tetrahedron [ˌtɛtrəˈhiːdrən] – тетраэдр, четырёхгранник

37. transmit [trænzˈmɪt] – передавать, переносить

38. urban development – градостроительство

39. emission [ɪˈmɪʃ(ə)n]– выброс (газообразных отходов) ,излучение

40. worthy [ˈwɜːðɪ] – достойный; заслуживающий,

II. Mind the pronunciation of the following words:Kaleidoscopic [kəˌlaɪdəˈskɒpɪk], simultaneously [sɪm(ə)lˈteɪnɪəslɪ], heaven [ˈhɛv(ə)n], ornamental [ˌɔːnəˈmɛnt(ə)l] ,acoustics [əˈkuːstɪks], plateau [ˈplætəʊ], reverse [rɪˈvɜːs], arena [əˈriːnə], prevalence [ˈprɛvələns],vineyard [ˈvɪnjəd] .

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III. Read and translate the text. Write out twenty more new words from the textand learn them.

Art TowerIt is an arts complex in Mito, Japan,opened in 1990. It was specificallybuilt at a height of 100 meters abovethe plateau to signify the hundredyears’ anniversary of Mito. It is easilyvisible from most of the new urbandevelopments stretching around theplateau of Mito. As for the plaza,although most traditional Japanesecities lack such a space, it was desiredto create a place of recreation andrelaxation for the citizens of Mito. ArtTower Mito constitutes a full-fledgedcompound of art-related facilities: theConcert Hall, a theater, acontemporary art gallery with 1,200square meters of display rooms, a

conference room holding 78 persons, and an entrance hall. Art Tower Mito bears the appearance of strong geometrical shapes, while

simultaneously abiding to classical architectural techniques. It has been divided insuch a way that exudes and emphasizes the human scale. The primary materials usedin the construction of Art Tower Mito are hard and solid: tessera tiles, stone, and soforth. Although they tend to diminish the openness of the rooms within, theexpressive intention was to emphasize the geometrical shape of the outlinescomposing the separate units. Besides using cubic, rectangular and cylindrical shapes,the lower sections of the structure are made up of forms such as domes, pyramids andarches, all of which suggest relatively stable centers of gravity. In contrast, the towerhas intentionally been designed to conflict with the rest of the structure. It is basicallycomposed of tetrahedrons stacked on top of each other as they ascend upwards,reminiscent of the ridgeline of the DNA helix. It represents the axis of time,continuing ever onward. The accumulation of triangles, each angled in a differentway, is covered with titanium panels that subtly catch the light, affording akaleidoscopic variety of appearances depending on the position of the sun and thecondition of the weather.

The concert hall at Art Tower Mito features a hexagonal shape, with theaudience’s seats arranged along a gentle slope and divided into three sections in anunusual vineyard arena fashion. The three large pillars that stand within the concerthall and divide the space actually serve to prop up the central dome. The bottom ofthe dome describes a reverse arc so as to improve the acoustics of the soundtransmitted from the stage. The quality of the acoustics can be altered by raising orlowering the dome, adjusting the air volume and angle.

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The ACM Theatre within the complex is round-shaped, and is encircled bythree galleries, the top of which extends above the stage. Exactly half of the centralarena of the theater is taken over by the stage, with audience seats occupying theother half. Stage props and other devices are contained in the upper portion. Theshape of the theater’s stage can be freely altered thanks to its division into tenseparate sections that can be raised or lowered as needed. The third major componentof Art Tower Mito - the contemporary art gallery - makes maximum use of naturallight, which acts to connect the various separate rooms that differ from each other interms of size and proportion. The skylights can be mechanically shaded or blackedout to adjust the amount of light let in. Also, the walls and the ceiling have beenpainted neutral white and the floors are wooden to accommodate the prevalence ofspatial installations in modern art.

The rest of the complex is made up of a conference room, a cafe, a restaurantand a shop, each featuring a distinctive interior design. The unique process chosen bythe city of Mito to design and construct the Art Tower Mito complex is worthy ofspecial mention, especially at a time when most local governments in Japan seem tofall into the trap of favouring “box” architecture. Arata Isozaki is convinced that thecity of Mito can rightly be proud to offer Art Tower Mito as a new model of how todesign and operate cultural facilities on a local basis.

Qatar National Convention Center by Arata Isozaki

In 2011 the architect completed a national convention center in Qatar (theQNCC), which has been called “one of the greenest convention centers in the world,”no small feat for one of the world’s leading emission-emitting countries. Thecomplex was the first of its kind to receive LEED Gold certification. Its green roof,with 3,600 square meters of solar panels supplies 12.5 percent of the building’sprojected energy needs; inside, LED lights and fixtures and zone-based air control

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systems reduce energy consumption. The QNCC, designed in conjunction withRHWL Architects, is the largest convention center in the Middle East. It can holdthousands of visitors and spectators, and houses ten performance venues, aconference hall and a theater that together hold more than six thousand, dozens ofmeeting rooms and forty thousand square meters of exhibition space. It is in theEducation City, situated near elite universities and research and technologyinstitutions, and twenty minutes from the area’s central business district. Thecomplex serves as “a new global hub of ideas and innovation.” The Education Citylooks as ambitious as it sounds. It is an assortment of neo-Arabian architecture andsome spectacular futuristic structures. The convention center uses the stylized thickroots of the native Sidra tree as colossal columns to hold up a slab roof. It is a holyIslamic tree to symbolize the end of the seventh heaven.

Team Disney Building

Such works are known for their bold forms, unique details, and a combinationof local and international influences. For instance, his Team Disney Building, whichreceived an AIA National Honor Award, uses a Japanese yin-yang theory of positiveand negative space. He incorporated a looped gateway that resembles MickeyMouse’s ears, a hint of his often-ironic approach to architecture, and he built anornamental sundial into the central cylinder – a reference to the time-consciousbusinesspeople who would use the space. Notable for colorful, off-kilter formssurrounding a 120-foot-tall, conical sundial, “Team Disney” was designed by Arata

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Isozaki and Associates of Tokyo. “This lively, eccentric headquarters celebratesfantasy while at the same time providing a serious, functional environment,” theAIA’s jury of architects commented in selecting “Team Disney,” which houses 1,200Disney World employees.

Notes:1. LEED (The Leadership in Energy & Environmental Design)

–“Руководство в энергетическом и экологическом проектировании” –является рейтинговой системой сертификации для так называемыхЗеленых зданий (green building). Эта система была разработана в 1993году как Зеленый строительный стандарт измеренияэнергоэффективности и экологичности проектов и зданий.

2. RHWL Architects (originally Renton Howard Wood Levin Architects)Берлинско-лондонское “Партнерство архитекторов” было основано в1961.

3. yin-yang theory – теория инь-ян.4. bears the appearance – имеет внешний вид5. props – реквизит;бутафория6. spatial installations in modern art – пространственная инсталляция –

форма современного искусства, представляющая собойпространственную композицию, созданную из различных элементов иявляющую собой художественное целое.

7. to describe an arc – описывать дугу8. world’s leading emission-emitting countries – страны, лидирующие по

выбросу газообразных отходов (а именно СО2) в атмосферу

IV. Answer the following questions1. What was the purpose of putting up Art Tower in Mito, Japan?2. What are the three major components of this tower? Describe them3. Were there any contradictions with the local authorities while designing the

tower?4. What is the role of shapes in Art Tower Mito?5. Why has Qatar National Convention Center been called “one of the greenest in

the world”? And what does LEED Gold certification stand for?6. Where is it located? And what are the benefits for the Middle East itself?7. What futuristic structures were employed in the QNCC? 8. And how are they connected with the Islamic religion? 9. Which building uses a Japanese yin-yang theory of positive and negative

space? 10.Which of his buildings would you like to visit most and why?

Active vocabulary

A

abide [əˈbaɪd] – следовать, соблюдать abide to architectural techniques – соблюдать архитектурные приемы

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absorb[əbˈzɔːb,əbˈsɔːb] – поглощать, впитывать, улавливатьaccident[ˈæksɪd(ə)nt] – несчастный случай; катастрофа; авария; происшествиеacclaim[əˈkleɪm] – объявлять, провозглашать, бурно аплодироватьaccommodate[əˈkɒmədeɪt] – подгонять, размещать; вмещатьaccumulation[əˌkjuːmjʊˈleɪʃ(ə)n] – накопление; аккумуляцияachievement [əˈtʃiːvmənt] – достижение,успехacknowledge [əkˈnɒlɪdʒ] – признавать, допускать,подтверждатьactual[ˈæktʃʊəl] – действительный; фактически существующийadhesion [ədˈhiːʒ(ə)n] – прилипание; слипание; склеивание advanced[ədˈvɑːnst] – передовой, прогрессивный; развитойaerial view[ˈɛərɪəl] – вид с воздуха, с высотыaesthetic[iːsˈθɛtɪk] – художественные взглядыaesthetically [iːsˈθɛtɪk(ə)lɪ] – эстетически, в соответствии с принципами

эстетики, посредством чувственных ощущенийafford[əˈfɔːd] – иметь возможность, давать, позволять себеallow [əˈlaʊ] – позволять, разрешатьalternate [ɔːlˈtɜːnɪt] – поочередный,(по)переменный, чередующийся amass[əˈmæs] – собирать, копить, накапливатьambitious[æmˈbɪʃəs] – амбициозный, честолюбивыйample [ˈæmp(ə)l] – просторный; обширный angle[ˈæŋɡl] – угол, ракурсapproach[əˈprəʊtʃ] – приближаться, подходить, сближатьсяappropriate– подходящий, уместныйarch[ɑːtʃ] – арка; свод, аркада; антиклинальная складкаarrange[əˈreɪndʒ] – классифицировать, систематизироватьascend[əˈsɛnd] – подниматься, всходитьaspirations[ˌæspɪˈreɪʃ(ə)n] – стремление, желание(достигнуть ч-л.)associate[əˈsəʊʃɪɪt] – присоединять(ся) (в качестве участника.), вызывать

ассоциацию; (with) общатьсяassociation[əˌsəʊsɪˈeɪʃ(ə)n] – союз, ассоциация, сотрудничество attend[əˈtɛnd] – посещать, присутствоватьauditorium[ˌɔːdɪˈtɔːrɪəm] – зрительный зал, аудитория; конференц-залavenue [ˈævɪnjuː] – авеню, проспект аллеяaward[əˈwɔːd] – награждать, присуждатьawning[ˈɔːnɪŋ] – навес, тент, укрытиеaxis[ˈæksɪs] – ось, осевая линия, вал, шпиндель

B

badge [bædʒ] – значок; эмблема, символ; признак; знакbay [beɪ] – бухта, заливbe keen on smth – очень любить что-л., увлекаться чем-л. beam [biːm] – брус; балка

51

bear [bɛə] – переносить, носить, нести benefit[ˈbɛnɪfɪt] – выгода, прибыль, польза, благоbilinear[baɪˈlɪnɪə] – билинейный ,двухлинейныйbold[bəʊld] – отважный, смелый, энергичныйbowling alley[ˈbəʊlɪŋˌælɪ] – площадка для игры в боулинг, кегельбанbrash[bræʃ] – дерзкий, поспешный, опрометчивыйbreakthrough[ˈbreɪkθruː] – прорыв, достижение, открытие

C

cantilever[ˈkæntɪˌliːvə] – консоль, кронштейн, укосина, консольныйcapture[ˈkæptʃə] – поймать, схватить, увлечь, пленитьcardboard[ˈkɑːdbɔːd] – картонcascade[kæˈskeɪd] – каскад, небольшой водопад cathedral[kəˈθiːdrəl] – собор; непререкаемый, непреложныйcelebrity [sɪˈlɛbrɪtɪ] – знаменитость; звездаcellar[ˈsɛlə] – подвал, погребcemetery [ˈsɛmɪtrɪ] – кладбищеcentennial [sɛnˈtɛnɪəl] – вековой, столетнийcentre of gravity – центр тяжестиceramist[ˈsɛrəmɪst] – гончар, керамик, специалист по керамикеchain-link fencing – сетка - рабицаchallenge[ˈtʃælɪndʒ] – подвергать сомнению, бросать вызовchamber of commerce [ˈtʃeɪmbə] – торговая палата(ассоциация

предпринимателей города, штата, защищающая интересы торгово-промышленных кругов)

chancel [ˈtʃɑːns(ə)l] – алтарьchapel [ˈtʃæp(ə)l] – (небольшая) церковь, часовняcitizen[ˈsɪtɪz(ə)n] – гражданин; гражданкаcivil [ˈsɪv(ə)l] – гражданскийcivilization[ˌsɪv(ə)laɪˈzeɪʃ(ə)n] – цивилизация, цивилизованностьclad[klæd] – облицовыватьcladding[ˈklædɪŋ] – облицовка, обшивкаclutter[ˈklʌtə] – суматоха, беспорядок, хаосcollaboration[kəˌlæbəˈreɪʃ(ə)n] – сотрудничество; участие; совместная работаcommission[kəˈmɪʃ(ə)n] – заказ (особ. художнику) поручениеcommitment [kəˈmɪtmənt] – обязательство; заинтересованность complete [kəmˈpliːt] – завершать, комплектовать, пополнятьconcrete[ˈkɒŋkriːt] – бетонconfess[kənˈfɛs] – признавать, признаватьсяconfine[ˈkɒnfaɪn] – граница, пределconnection[kəˈnɛkʃ(ə)n] – связь, соединение, сцеплениеconscious [ˈkɒn(t)ʃəs] – понимающий, осознанный, здравый

52

consideration[kənˌsɪdəˈreɪʃ(ə)n] – размышление; рассмотрение; разборcontemporary[kənˈtɛmp(ə)rɪ] – новый, современный; модернистскийcontradiction[ˌkɒntrəˈdɪkʃ(ə)n] – противоречие; несоответствиеcontribution [ˌkɒntrɪˈbjuːʃ(ə)n] – вклад, ценные достиженияcontroversy[ˈkɒntrəvɜːsɪ, kənˈtrɒvəsɪ] – спор, дискуссия, полемикаconvert [kənˈvɜːt] – преобразовывать; превращать cooperation [kəʊˌɒpəˈreɪʃ(ə)n] – сотрудничество, взаимодействиеcore [kɔː] – сердцевина; ядро; глубинная, внутренняя часть corrugated[ˈkɒrəɡeɪtɪd] – гофрированный, рифленыйcounty[ˈkaʊntɪ] – графство(административная единица в Великобритании)округ(административное подразделение штата в США)cozy[ˈkəʊzɪ] – удобный, уютныйcreation [krɪˈeɪʃ(ə)n] – созидание; творчество, творениеcrowd [kraʊd] – толпа; скопление людейcrown [kraʊn] – венчать, завершать(верхнюю часть чего-л.); покрывать

вершинуcutting-edge – самый современный (изготовленный с применением

передовых технологий)cylindrical[sɪˈlɪndrɪk(ə)l] – трубчатый,цилиндрический

D

decrease[diːˈkriːs] – уменьшать; убавлять, сокращатьdedicate[ˈdɛdɪkeɪt] - посвящатьdefy[dɪˈfaɪ] – бросать вызов, игнорировать, противостоять delete[dɪˈliːt] – вычеркивать, стирать, исключатьdelicate [ˈdɛlɪkɪt] – утонченный, изысканный, тонкийdemand[dɪˈmɑːnd] – потребность, спросdemolish [dɪˈmɒlɪʃ] – разрушать, уничтожать; сноситьdense[dɛns] – густой, плотный; непрозрачныйdeny [dɪˈnaɪ] – отрицать; отвергатьdescent [dɪˈsɛnt] – происхождение; родословная; источникdesign[dɪˈzaɪn] – план, проект, проектирование, проектироватьdestruction[dɪsˈtrʌkʃ(ə)n] – разрушение, уничтожениеdetermine[dɪˈtɜːmɪn] – определять, устанавливатьdevastated[ˈdɛvəsteɪtɪd] – опустошенный, разоренныйdevelopment – строительство; застройка; стройка; сооружениеdiffer [ˈdɪfə] – отличаться; различаться, расходиться во мнениях, не

соглашатьсяdimention [d(a)ɪˈmɛnʃ(ə)n] – величина; объем; протяжение, измерениеdimetric[daɪˈmɛtrɪk] – тетрагональныйdire[ˈdaɪə] – страшный, ужасный, жуткийdismiss[dɪsˈmɪs] – отпускать, отвергать, распускатьdisparage [dɪsˈpærɪdʒ] – принижать; недооценивать, умалятьdisplay[dɪsˈpleɪ] – выставлять, показывать; демонстрировать

53

diverse[daɪˈvɜːs] – иной, многообразный, разнообразныйdivide[dɪˈvaɪd] – делить, разделять

E

earn [ɜːn] – заслуживать, снискать, получать, зарабатыватьelect[ɪˈlɛkt] - избирать, решать, делать выборemphasize[ˈɛmfəsaɪz] – подчеркивать, придавать особое значение,employ – предоставлять работу, нанимать сотрудниковemployee [ˌɪmplɔɪˈi:] – рабочий; служащий; работающий по наймуenchant[ɪnˈtʃɑːnt] – очаровывать, восхищатьencourage [ɪnˈkʌrɪdʒ],– ободрять; поощрять, поддерживатьenroll[ɪnˈrəʊl] – записываться, зачислятьсяensure – обеспечивать, гарантировать, уверятьenter the competition /the event – выступать в соревновании, участвовать в

состязанииentertainment [ˌɛntəˈteɪnmənt] – зрелище, представлениеentire [ɪnˈtaɪə] – полный, целый, весьenvelope[ˈɛnvələʊp] – обертка ,обложка, оболочкаenvirons [ɪnˈvaɪ(ə)rənz] – окрестности; окружение, средаerror[ˈɛrə] – ошибка, заблуждениеestablish[ɪˈstæblɪʃ] – основывать, учреждать; создавать evoke[ɪˈvəʊk] – вызывать, пробуждатьexclusively[ɪkˈskluːsɪvlɪ] – исключительно; единственно; толькоexecutive [ɪɡˈzɛkjʊtɪv] – руководитель, руководящий работникexhibition[ˌɛksɪˈbɪʃ(ə)n] – выставка expansion[ɪkˈspænʃ(ə)n] – рост, развитие, расширение, увеличение expect [ɪkˈspɛkt] – ожидать, ждатьexperience [ɪkˈspɪ(ə)rɪəns] – опытность; опыт работы expertise [ˌɛkspɜːˈtiːz] – квалификация, компетентностьextended family – большая семьяextraordinary[ɪkˈstrɔːd(ə)n(ə)rɪ] – выдающийся, исключительный exude[ɪɡˈzjuːd] – выделяться; выступатьeye-catching[ˈaɪˌkætʃɪŋ] – привлекательный, бросающийся в глаза

F

façade [fə|ˈsɑːd] – фасадfacet [ˈfæsɪt] – фаска; аспект, граньfacilities – сооружения, средства, устройства; материальная базаfame [feɪm] – популярность, славаfascinating[ˈfæsɪneɪtɪŋ ]– очаровательный, захватывающий

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feather[ˈfɛðə] – перо оперятьсяfeature[ˈfiːtʃə] – особенность, характерная черта; признакfiber [faɪbə] – волокноfin – ребро, пластина; плавник(рыбы) fire truck – пожарная машинаfit[fɪt] – соответствовать, годиться; подходитьfix[fɪks] устанавливать; прикреплять; закреплятьfixed arch – бесшарнирная аркаflamboyant[flæmˈbɔɪənt] – яркий; вычурный; пышныйfloating arch – плавучая аркаflood[flʌd] – наводнение; половодье; разливflying buttress [ˈbʌtrəs] – аркбутан, контрфорсная аркаfocus [ˈfəʊkəs] – сосредоточивать, концентрироватьсяfold[fəʊld] – складывать, сгибать; загибать; сворачивать; перегибатьfull-fledged[ˌfʊlˈflɛdʒd] –полноценный, полномасштабный, с полным набором средств

G

gain[ɡeɪn] – получать, зарабатывать, добывать, извлекать пользуgambling [ˈɡæmblɪŋ] – азартные игры, игра на деньгиgive up[ˈɡɪvˈʌp] – оставить, отказаться, броситьgraduate student – аспирант(человек, который получил университетскую степень бакалавра и продолжает научную работу, чтобы получить ученую степень магистра)gravity[ˈɡrævɪtɪ] –серьезность, важность ,тяжесть; сила тяжести

H

hallmark [ˈhɔːlmɑːk] – критерий, признакhardship[ˈhɑːdʃɪp] – трудности, неприятностиhaunted[ˈhɔːntɪd] – часто посещаемый, населенный(призраками и т. п.)head[hɛd] – направляться, держать курс, следоватьheart attack[ˈhɑːt əˌtæk] – сердечный приступheight [haɪt] – высота, вышина верх, высшая степеньhelix [ˈhiːlɪks] – спираль, винтовая линия, 2)архит.волюта, завитокheritage[ˈhɛrɪtɪdʒ] – наследство; наследиеhexagonal [hɛkˈsæɡənəl] – шестиугольныйhonour [ˈɒnə] – честь, благородство; чтить,удостаивать

I

identify [aɪˈdɛntɪfaɪ] – отождествлять устанавливать подлинность; распознаватьimmense [ɪˈmɛns] – огромный, колоссальный

55

impact [ˈɪmpækt] – ударять; толкать, (on)оказывать воздействиеimpose [ɪnɪˈpəʊz] – налагать [вводить] (запрет);предписыватьimposing [ɪmˈpəʊzɪŋ] – грандиозный; впечатляющий, внушительныйin fits and starts – неравномерно, урывкамиinclude – содержать, включать в себяindigenous[ɪnˈdɪdʒ(ə)nəs] – местный, туземный, природныйinfluence[ˈɪnflʊən(t)s] – влияние, воздействие, воздействоватьinfuse [ɪnˈfjuːz] – вдохновлять, воодушевлятьinspire[ɪnˈspaɪə] – вдохновлять, воодушевлять; стимулироватьinstallation[ˌɪnstəˈleɪʃ(ə)n] – установка, размещение; сборка, монтаж institution[ˌɪnstɪˈtjuːʃ(ə)n] – общество, организация, учреждениеintelligence [ɪnˈtɛlɪdʒ(ə)ns] – ум, интеллект, сведения, информацияintend for – предназначать для чего-либоinterior[ɪnˈtɪərɪə] – внутренний, внутренняя сторона, частьinterviewer[ˈɪntəvjuːə] – интервьюер, опрашивающийintroduce – вводить, внедрять представлять, знакомитьintuition [ˌɪntjnˈɪʃ(ə)n] – знания, основанные на интуицииiron[ˈaɪən] – железо железный, сделанный из железаitch to do sth[ɪtʃ] – испытывать нетерпеливое желание сделать что-либоitinerary[aɪˈtɪn(ə)r(ə)rɪ] – маршрут, путь

J

jut out – выдаваться

K

know-how [ˈnəʊhaʊ] - умение; знание дела, секрет изготовления, keep up with – не отставать от кого-л., поспевать за кем-л.

L

landscape [ˈlændskeɪp] – ландшафт; пейзаж, рельефlead [liːd] – вести; возглавлятьleviathan[lɪˈvaɪəθ(ə)n] – громадина, гигант, великанlight/lit/lit – освещать зажигатьlight-emitting diode( LED) [ˈlaɪtɪˌmɪtɪŋˈdaɪəʊd] – светодиодlimestone[ˈlaɪmstəʊn] – известнякload [ləʊd] – груз, ноша, тяжесть, бремя, нагрузкаload-bearing – несущий ( нагрузку)

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lobby[ˈlɒbɪ] – вестибюль, приемная, холл; коридор; фойеlocal authorities – местные власти, органы местного самоуправленияlounge [laʊndʒ] – гостиная, комната для отдыха с удобными кресламиlow-income housing – жилье экономического класса

Mmagic wand[wɒnd] – волшебная палочкаmainstream[ˈmeɪnstriːm] – главное направление(зд.в искусстве)major [ˈmeɪdʒə] – значительный, главный; крупныйmarble[ˈmɑːb(ə)l] – INCLUDEPICTURE "https://yastatic.net/lego/_/La6qi18Z8LwgnZdsAr1qy1GwCwo.gif" \* MERGEFORMATINET мрамор, мраморное изделие maritime [ˈmærɪtaɪm] – морскойmarsh[mɑːʃ] – болото, топьmasterpiece[ˈmɑːstəpiːs] – шедеврmature [məˈtʃʊə] – зрелый; спелый, зрелый, выдержанный созревшийmaverick[ˈmæv(ə)rɪk] – «белая ворона», диссидент, инакомыслящийmeld – объединяться, смешиватьсяmentor[ˈmɛntə] – наставник, руководитель, воспитатель, кураторmetamorphose [ˌmɛtəˈmɔːfəʊz] – трансформировать, трансформацияmining[ˈmaɪnɪŋ] – горное дело, горная промышленностьmiss – обнаружить отсутствие, недоставатьmode [məʊd] – метод, способ; формаmosque [mɒsk] – мечетьmotif[məʊˈtiːf] – лейтмотив; главная мысль, мотив, элемент орнаментаmove to/into – переезжать

N

nave [neɪv] – неф (церкви)neighbour[ˈneɪbə]– соседneoclassicism [ˌniːəʊˈklæsɪsɪz(ə)m] – неоклассицизмnumerous[ˈnjuːm(ə)rəs] – многочисленный, множественныйnun[nʌn] – монахиня

O

observer[əbˈzɜːvə] – наблюдатель, эксперт, обозревательobsolete[ˈɒbs(ə)liːt] – вышедший из употребления, occupy[ˈɒkjʊpaɪ] – занимать(дом, квартиру);арендоватьoff-kilter [ˌɒfˈkɪltə] – несбалансированный, эксцентричный, кривой

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one-of-a-kind[ˌwʌnəvəˈkaɪnd] – необычный, своеобразныйongoing[ˈɒnˌɡəʊɪŋ] – продолжающийся, постоянныйoptimize [ˈɒptɪmaɪz] – выбирать самое выгоднейшее решениеoscillation[ˌɒsɪˈleɪʃ(ə)n] – качание, колебание, неустойчивость outbreak[ˈaʊtbreɪk] – вспышка, внезапное появление, началоoversee[ˌəʊvəˈsiː] – осуществлять надзор; следить; смотреть (за чем-л.)own[əʊn] – владеть; иметь, обладать

P

panel[ˈpænl] – панель; филенкаpartnership [ˈpɑːtnəʃɪp] – сотрудничествоpentagon-[ˈpɛntəɡ(ə)n] – пятиугольник, пятигранныйpergola [ˈpɜːɡələ] – беседкаpermanent[ˈpɜːm(ə)nənt] – постоянный, неизменныйperpetual[pəˈpɛtʃʊəl] – вечный, бесконечныйperplex[pəˈplɛks] – ставить в тупик, ошеломлять, сбивать столкуpicturesque [ˌpɪktʃəˈrɛsk] – живописный(о ландшафте);колоритный(о

внешнем виде)pillar [ˈpɪlə] – столб; стержень колонны, колонна, стойка; опораplateau [ˈplæ|təʊ] – плато, плоская возвышенность, плоскогорьеplaza [ˈplɑːzə] – открытая площадка(перед городскими зданиями), торговый

комплексplywood[ˈplaɪwʊd] – фанераpointed arch – стрельчатая аркаpour[pɔː] – лить, отливатьprecious [ˈprɛʃəs] – драгоценный; большой ценности prevent[prɪˈvɛnt] – предотвращать, предупреждать; предохранятьprivate [ˈpraɪvɪt] – частный; личный; персональный; неофициальныйproceed[prəˈsiːd] – продолжать, приступать, переходитьpromote[prəˈməʊt] – способствовать, содействовать, поддерживать, поощрятьprop up [prɒp] – подпирать; снабжать подпорками; поддерживатьpropel[prəˈpɛl] – двигать, побуждать, толкать впередproposal[prəˈpəʊz(ə)l] – предложение, проект, предложение (о браке)provide[prəˈvaɪd] (with) – снабжать; обеспечиватьprow [praʊ] – нос(судна, самолёта)pupil[ˈpjuːp(ə)l] – зрачок, ученик; малолетний; подопечныйpursue[pəˈsjuː] – преследовать, добиваться, избрать профессией

Q

quarter[ˈkwɔːtə] – квартал, четвертьquirk[kwɜːk] – изгиб; закругление, архит. небольшой желобок

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R

ramp[ræmp] – скат, уклон, пандусreach [riːtʃ] – простираться; доходить, размах, амплитудаrear[rɪə] – зд. тыльная/задняя часть зданияrecognize[ˈrɛkəɡnaɪz] – узнавать, одобрение; ценить, отдавать должноеrecuperate[rɪˈkjuːp(ə)reɪt] – восстанавливать, возмещатьreduce[rɪˈdjuːs] – снижать; сбавлять, уменьшать; сокращатьregret[rɪˈɡrɛt] – сожалеть, испытывать сожалениеrelease[rɪˈliːs] – освобождать, избавлятьreligious[rɪˈlɪdʒəs] – религиозный, относящийся к религии remain [rɪˈmeɪn] – оставаться сохранятьсяreminiscent[ˌrɛmɪˈnɪs(ə)nt] (of) – напоминающий, вспоминающийremit[rɪˈmɪt] – уменьшать, смягчать, ослаблять, пересылать, отправлятьrender – представлять, исполнятьrenovate[ˈrɛnəveɪt] – ремонтировать, реконструировать, освежатьrepresentative[ˌrɛprɪˈzɛntətɪv] – представитель, делегатrescue [ˈrɛskjuː] – спасать, избавлять; освобождатьresemble [rɪˈzɛmb(ə)l] – походить, иметь сходствоreshape[ˌriːˈʃeɪp] – изменять форму, переделыватьresin [ˈrɛzɪn] – смола; канифоль ,сырой каучукresponsible [rɪˈspɒnsəb(ə)l] INCLUDEPICTURE

"https://yastatic.net/lego/_/La6qi18Z8LwgnZdsAr1qy1GwCwo.gif" \*MERGEFORMATINET - ответственный, надежный,

rest(rest (up)on / in) – держаться, основываться, опиратьсяrestrict[rɪˈstrɪkt] – ограничивать, держать в определенных пределахretain[rɪˈteɪn] – удерживать; сдерживатьreveal [rɪˈviːl] – обнаруживать, раскрыватьrevitalize [riːˈvaɪt(ə)laɪz] – оживлять, восстанавливатьribbed vault [vɔːlt] – нервюрный сводriot[ˈraɪət] – бунт, восстание, буйство, пышностьrival[ˈraɪv(ə)l] – соперничать, конкурироватьroot[ruːt] – источник, корень, первопричинаrotate [rəʊˈteɪt] – вращать, вращаться чередоватьrotation [rəʊˈteɪʃ(ə)n] – вращение; оборот; чередование rotunda [rəʊˈtʌndə] – ротонда(круглая постройка, обычно с куполом)rubble [ˈrʌb(ə)l] – бутовый камень, булыжник, валунrumored[ˈruːməd] – известный по слухамrumpled[ˈrʌmpld] – потрепанный, помятыйrural [ˈrʊ(ə)rəl ] - сельский, деревенский

S

sandstone[ˈsæn(d)stəʊn] – песчаникsavings – сбережения

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scale[skeɪl] – масштаб(карты, чертежа);масштабное соотношение; шкала;scavenge[ˈskævɪndʒ] – копаться в мусоре, чистить, очищатьscenery [ˈsiːn(ə)rɪ] – пейзаж, ландшафт; видseek[siːk] – искать, разыскивать; добиватьсяselect [sɪˈlɛkt] – избранный; отборный отбирать, выбиратьset designer – художник по декорациям, кинодекораторsevere[sɪˈvɪə] – строгий, суровый, требовательныйshutter[ˈʃʌtə] – затвор, заслонкаsignificant [sɪɡˈnɪfɪkənt] важный, существенныйsketch [skɛtʃ] – эскиз, набросок; зарисовка ski jump – трамплин, прыжок с трамплинаslab [slæb] – плита; лист, пластинаslope [sləʊp] – скат, склон; откосsoft-spoken[ˈsɒftˌspəʊk(ə)n] – любезный, учтивыйsource[sɔːs] – источник, основа; началоspacial – пространственныйspan – пролёт(моста);расстояние между опорами(арки, свода)spatial[ˈspeɪʃ(ə)l] – пространственный; занимающий пространствоspectacular[spɛkˈtækjʊlə] – эффектный, захватывающийspiral [ˈspaɪ(ə)rəl] – спираль, винтовая линия, предмет спиральной формыspot – место, местность, район; небольшой участок местностиstaff[stɑːf] – набирать кадры, комплектовать штатstaircase[ˈstɛəkeɪs] – лестница, лестничный маршstate[steɪt] – заявлять; утверждать; констатироватьstir up[ˈstɜː(r)ˈʌp] – расшевелить, разбудить побуждатьstretch [strɛtʃ] – растягивать, вытягивать, удлинять, тянутьstructural engineering – проектирование зданий и сооруженийstupa[ˈstuːpə] – ступа(монументальное культовое сооружение)stylize[ˈstaɪlaɪz] – стилизовать, изображать условноsuburbs [ˈsʌbɜːb] – пригород, окраина; окрестностиsuffer [ˈsʌfə] – страдать, испытывать, терпетьsunbreak[ˈsʌnbreɪk] – бетонный козырек над окномsundeck[ˈsʌndɛk] – открытая веранда на солнечной сторонеsundial[ˈsʌndaɪəl] – солнечные часыsupervise – заведовать; руководитьsurface[ˈsɜːfɪs] – поверхность, вид, внешность, наружностьsurround[səˈraʊnd] – окружать; обносить, обрамление; край, кромка,suspension bridge [səˈspɛnʃ(ə)nbrɪdʒ] – висячий мост; цепной мостsynthesize [ˈsɪnθəsaɪz] – синтезировать

T

terrace [ˈtɛrɪs] –терраса, веранда

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tessera[ˈtɛsərə] – мозаика для полов(из мрамора, стекла или камня);мозаичное покрытие; стеновая мозаика; тессера(небольшая пластинка или кубик мрамора, стекла, керамики, применяемые для создания мозаики)

tetrahedron [ˌtɛtrəˈhiːdrən] – тетраэдр, четырёхгранникties – связи, узыtiny[ˈtaɪnɪ] - очень маленький, крошечныйtitanium[tɪˈteɪnɪəmˌ taɪˈteɪnɪəm] – титан, титановыйtower [ˈtaʊə] – выситься, возвышатьсяtownhouse [ˌtaʊnˈhaʊs] – таунхаус (одноквартирный дом, составляющий часть

сплошного ряда домов с общими боковыми стенами)translucent[trænzˈluːs(ə)nt] – полупрозрачный transmit[trænzˈmɪt] – передавать, переноситьtriumph[ˈtraɪəmf] – триумф; победа, торжество trouble [ˈtrʌb(ə)l] – неприятность затруднение, трудностьtufa [ˈtjuːfə] - известковый туфturmoil [ˈtɜːmɔɪl] – шум, суматоха; беспорядокtwist – крутить, скручивать вращать, поворачивать

U

unfortunately [ʌnˈfɔːtʃʊnɪtlɪ] – к несчастью, к сожалениюunorthodox[ʌnˈɔːθədɒks] – неортодоксальный, необщепринятыйunpretentious[ˌʌnprɪˈtɛn(t)ʃəs] – скромный, простойunveil[ˌʌnˈveɪl] – снимать вуаль, торжественно открывать (памятник)urban development – градостроительствоurban[ˈɜːbən] – городской utilitarian[juːˌtɪlɪˈtɛ(ə)rɪən] - практический, прагматический

V

vibration [vaɪˈbreɪʃ(ə)n] – вибрация, колебание; дрожаниеvineyard [ˈvɪnjəd] – виноградникviolence[ˈvaɪələns] – жестокость, насилиеvirtue[ˈvɜːtʃuː, -tjʊ-] – добродетель, нравственность, эффективностьvoid [vɔɪd] – пустота; вакуум, лакуна

W

warehouse [ˈwɛəhaʊs] – склад, складское помещение; товарный складweird[wɪəd] – странный, чуднойwidow[ˈwɪdəʊ] – вдова withdraw[wɪðˈdrɔː] – отнимать, забирать, отзыватьwood shavings – стружкиworthy[ˈwɜːðɪ] – достойный; заслуживающий

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References

1. Jonathan Glancey Architecture 2006 [электронный ресурс]/http://www.amazon.com/Architecture-Eyewitness-Companions.

2. Housing & Buildings /Nemetschek Engineering User Contest 2009[электронный ресурс]/ http://www.slideshare.net/ SciaSoftware.

3. Frank Gehry Biography [электронный ресурс]/http :// www . notablebiographies . com / news / Ca - Ge / Gehry - Frank . html

4. Guggenheim Museum, Bilbao, Spain [электронный ресурс]/http://www.galinsky.com/buildings/guggenheimbilbao/.

5. Linda Mathieu. Louis Vuitton Foundation Paris [электронный ресурс]/http://www.thegoodlifefrance.com/louis-vuitton-foundation-paris/.

6. Zaha Hadid Biography/Encyclopedia of world biography[электронный ресурс]/http://www.notablebiographies.com/supp/Supplement-Fl-Ka/Hadid-Zaha.html.

7. The poet of glass and steel/ “Time” [электронный ресурс]/http://www.time.com/time/2004/innovators/200403/calatrava.html

8. The Design of Art Tower Mito [электронный ресурс]/http://www.arttowermito.or.jp

9. Admirant Entrance Building [электронный ресурс]/ http://www.fuksas.it

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