Task 2. Answer the following questions.

1. What should the plan of landscape design consist of?

2. What drawing equipment is essential for making a plan?

Task 3. For each word, choose the word or phrase that has the most similar meaning.

1. Surface ______________

a) apparition; b) sight; c) exposure; d) exterior.

2. Sketch ______________

a) contour; b) draft; c) line; d) peculiarity.

3. Lot ______________

a) majority; b) plot; c) mass; d) device.

Task 4. Retell about a plot plan.

Text 2. Conduct a site analysis

Task 1. Read the text and translate into Russian.

A complete survey of the customer's property is essential. The plot plan will assist you in organizing the information from the site analysis. A thorough site analysis can save you time and money. Existing vegetation, natural factors and features, views, noise levels, utility placement, easements/setback lines and primary architectural features of the house should be noted.

Assess Family Needs. A landscape should be an outdoor extension of indoor living areas. It should be functional and provide space for family activities. Before the designer can create such an environment, knowledge of certain family characteristics is essential.

Locate Activity Areas. Once the family needs have been determined, areas for these activities must be located on the property. Their placement should be considered in terms of the house plan and in relation to other activities in and adjacent to the property. These activity areas could include a public area, entrance, living area, quiet zone, service and work area, or vegetable or cut- flower garden plot.

These areas should be defined on the plot plan or maybe on a piece of tracing paper laid over the plot plan. Actually sketch the outline of these areas. Be sure to include all needed activity areas and draw them to scale and to the size necessary to accommodate the activity, yet still fit within the property lines. Two major considerations for the placement of areas must be emphasized.

1. Place outdoor areas in relation to indoor activity areas. The outdoor living or entertaining area should be an extension of the family or living room in the house. The service area and work area may be an extension of the laundry room, kitchen or garage.

2. Arrange areas relative to the activities in each and activities on adjoining property. For example, do not position the children's play area beside the quiet zone. Always leave a clear view to the children's play area from some identified observation point like the kitchen window.

Vocabulary

complete survey полный обзор

plot карта, план,схема

toassist содействовать, помогать

thorough полный

easements удобство

to assess oценивать

to locate определять место, располагать

adjacent расположенный рядом, смежный, соседний

to define очертить, определить

to scale определять масштаб, строить шкалу

to accommodate подгонять; приспосабливать(ся),вместить

an extension продление

laundry room прачечная

relative относительный, взаимный

adjoining property соседний участок

identified observation point установленная точка наблюдения

extension удлинение, протяжение, протяженность;

Task 1. Give English equivalents of:

внешнее расширение внутренних жилых зон, рабочее пространство, придавать особое значение, план зон жизнедеятельности, прилегающая собственность; чертите в масштабе; необходимому размеру, размещение нужно рассмотреть с точки зрения плана дома; сделать набросок схемы;

Task 2. Find opposites of the following words in the text:

complete small

save inaction

noise similar

indoor behind

entrance begin

needed silence

beside exit

activity waste

extension outdoor

different useless

tremendous shortening

Task 3. Answer the following questions.

1. What are a site analysis?

2. What factors of the house should be noted in the plot plan?

3. How does an architect assess Family Needs?

4. What could activity areas include?

5. What major considerations for the placement of areas must be emphasized?

Unit 11

Task 1. Read the text.

"THE RENAISSANCE: THE BRIDGE FROM THE ANCIENT TO THE MODERN"

While in the early 15th century England and Spain were still under the spell of Gothic, Italy gave a warm welcome to Classical architecture. What caused the transition from Gothic to the Renaissance? On the one hand, Gothic architecture reached a stage when it could no longer originate new ideas. On the other hand, Gothic had never been very popular in Italy. The survival of ancient Roman ruins in Italy continually recalled the glorious past. Italy regarded Gothic as a wild northern style associated with Germanic tribes who had destroyed Classical Rome. The invention of the compass and the development of new techniques in shipbuilding made it possible to expand the limits of the known world. The invention of printing by Johannes Gutenberg in 1450 was one of the major engines behind the Renaissance: it caused the production of printed books and dissemination of knowledge, the development of sciences and rediscovery of ancient heritage.

Renaissance architecture originated in Florence in the 1430's, when the outstanding Italian architect, sculptor, and goldsmith Filippo Brunelleschi (1377–1446) decorated the Cathedral of Santa Maria del Fiore (1436) with a beautiful dome, a man-made wonder equal to the Pantheon or the Hagia Sophia. Brunelleschi placed his dome on top of an octagonal drum. The temple-like cupola at the top held the dome together and prevented it from spreading apart. Besides the innovative design of the dome, Brunelleschi originated a new plan of the basilica. Instead of using pendentives, the architect invented a double-shell structure reinforced by masonry ribs. High clerestory windows were used to light up the nave. Brunelleschi did not simply revive Classical forms – he discovered the laws of perspective and originated a rational architectural style, in which exterior and interior details were closely related.

New ideas spread fast across Europe with the publication of the first theoretical works. In 1487, the first translation of the treatise "De Architectura" by Marcus Vitruvius Pollio (1st century BC) was published in Italy to become a true Encyclopedia. The treatise consisted of 10 books, which analyzed Greek and Roman architecture and covered a variety of topics, from building materials and hydraulics to elements of architecture and city planning. According to Vitruvius, "a building should correspond to human proportions". His maxim was in harmony with the new ideas: the Renaissance was the kingdom of Man, who became "the measure of all things". Architects tried to analyze and reinterpret the Roman heritage. The theorists of the revived antique style were no longer masons – they were scholars. Architecture was no longer a practical tradition – it was a literary idea. An architect was no longer putting up a building – he was following a theory.

The architect who joined theory and practice was Leon Battista Alberti (1404–1472), a scholar, mathematician, and a new type of genius with profound knowledge of all arts. In 1452, he wrote his fundamental treatise "De re aedificatoria" (the book was printed 33 years later). Alberti treated architecture as an intellectual and social art, which required painting skill, mathematical knowledge, and musical education. Alberti thought architecture and music to be mathematically related. He worked out structural proportions based on the rational integration of all parts. He wrote: "Everything that nature produces is regulated by the law of harmony. Beauty needs decoration for its full effect. In all architecture, the fundamental ornament is the column". Alberti was the first who applied the pilaster system to domestic architecture (Tempio Malatestiano, 1450, Rimini; Palazzo Venezia, 1455, Rome). A building reflects in its dimensions the fundamental laws of nature and God. Thus, a perfectly proportioned building will be a reflection of God in man". Alberti set forth the principal concepts of architecture – the square, the cube, the circle, and the sphere. Like Vitruvius, he thought architecture to be a unity of function, structure, and beauty. Like the Greeks, he believed the beauty of a building to depend upon the harmony of number, proportion, and arrangement of parts.

Leonardo da Vinci (1452–1519), "the Renaissance man of legend", developed the ideas of Vitruvius in his famous drawing relating human proportions to the ideal shapes – the square and the circle. Numerous professional drawings by Leonardo da Vinci prepared for his never-completed book "Treatise on Architecture" included town-planning schemes, projects for bridges and cathedrals, often with multiple domes. Shown in plan, elevation, and perspective, they anticipated the High Renaissance.

The architect who dominated the early years of the High Renaissance in Rome was Donato Bramante (1444–1514). He created a number of designs in Milan and worked out a vast plan for St. Peter's Cathedral in Rome. But his most amazing structure was the Tempietto San Pietro (1510) in Rome, an unforgettable masterpiece of architecture. Tempietto San Pietro St. Peter's dome. Modelled on the ancient Roman temple of Vesta, it has charm, elegance, and perfection typical of the best Classical buildings. It was a source of inspiration for Michelangelo's dome of St. Peter's Cathedral, the dome of the US Capitol, Washington, DC, and the Pantheon in Paris, to name just the most outstanding buildings across 350 years.

Without doubt, the chief figure of the High Renaissance in Venice was Andrea Palladio (1508–1580), a scholar, architect, and sculptor. Palladio's style has been valued for centuries as the quintessence of harmony and perfect taste. His buildings have the hallmark of elegance and dignity. His houses and villas embraced nature, and gave a lead to the landscape movement of the 18th century. Palladio designed and built a lot of houses, villas, palaces, and churches, his most brilliant works being the Villa Rotonda (1559).

The Renaissance was remarkable not only for a new style of architecture, but also for a new style of city. Modern principles of city planning reflected the grand scale of construction and the rational attitude to the design: streets were widened, squares became an integral part of the layout, and a special focus was made on colonnades, triumphal arches, monuments, and fountains. The brilliant Renaissance culture of Italy was influential all over Europe until the early 17th century, when Italian architects were moving on to a different phase of the Classical style known as Baroque.

Vocabulary

spell период, промежуток времени

transition переход

to expand расширяться

dissemination распространение

goldsmith ювелир

an octagonal drum восьмиугольный барабан

pendentive пандатив

reinforced by masonry ribs укрепленный ребрами каменной кладки

clerestory windows окна фонаря

to revive возрождаться

treatise трактат

hydraulics гидравлика

to correspond переписываться

profound knowledge of all arts глубокое знание всех искусств.

to treat рассматривать

rational integration of all parts рациональная интеграция всех частей

the pilaster system система пилястра

an integral part of the layout неотъемлемая часть расположения

anticipate ожидать, предвидеть

inspiration вдохновение

to regard расценить, рассматривать

hallmark проба, критерий, признак

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