Прочитайте текст и выполните задания. Early Modernism 1. With the Industrial Revolution the availabi...: ответ на тест 1057943 - Английский язык

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Early Modernism
1.  With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction.
2.  This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as “Dark satanic mills”. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan.
3. Around 1900 a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art").
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A number of first iron mills collapsed because of …

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Early Modernism
1.  With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction.
2.  This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as “Dark satanic mills”. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan.
3. Around 1900 a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art").
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Landscape Architecture
1. For the period before 1800, the history of landscape gardening (later called landscape architecture) is largely that of master planning and garden design for manor houses, palaces and royal properties, religious complexes, and centers of government. The first person to write of “making” a landscape was Joseph Addison in 1712. The term “landscape architecture” was invented by Gilbert Laing Meason in 1828 and was first used as a professional title by Frederick Law Olmsted in 1863. During the later 19th century, the term “landscape architect” became used by professional people who designed landscapes.
2. Through the 19th century, urban planning became a more important need. The combination of the tradition of landscape gardening and emerging city planning gave landscape architecture its unique focus to serve these needs. In the second half of the century, Frederick Law Olmsted completed a series of parks which continue to have a huge influence on the practices of landscape architecture today. Among these were Central Park in New York City, Prospect Park in Brooklyn, New York and Boston's Emerald Necklace park system.
3. Landscape architecture continues to develop as a design discipline, and to respond to the various movements in architecture and design throughout the 20th and 21st centuries. Such prominent landscape architects as Roberto Burle Marx, Ian McHarg continue today solving challenging problems with contemporary design solutions for master planning, landscapes and gardens.
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What contribution did Frederick Law Olmsted make to the landscape architecture?

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Early Russian Architecture
1. Russian borrowed its early architecture, like its icon painting, from Byzantium. From the eleventh to the thirteenth centuries early towns were built on defensive sites on high river banks. From afar were visible low white walls with towers, churches with brilliant domes and bell towers. The finest examples of traditional architecture can be seen in the towns of Yaroslavl, Kostroma, Suzdal, Bogolyubovo and Sergiev Posad.
2. In Russia, timber has always been the most natural building material. Russian carpenters decorate the diverse structures they were building with beautiful carved decorations above windows and porches. One can see such decorations on log-cabins, fortress towers, huge cathedrals, churches and monasteries.
3. Wooden and masonry architecture developed side by side in medieval Russia, one stimulating and gratifying the love for verticality and slenderness, the other satisfying a yearning for massiveness, monumentality, and lavish decoration in the expression of power and splendour. The few remaining examples of the ancient wooden structures are now in Rostov and also in the museums of wooden buildings in Novgorod, Kostroma and Suzdal. These examples show the skill and gift of their builders to harmonize the building proper with the landscape. Wooden architecture predominates in Northern Russia and in some of the older settlements and towns of the Siberia, such as Tyumen.
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What was early Russian architecture derived from?

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British Architecture in the Period of Ancient History
1. An Alpine race came to the British Isles about 1700 B.C. A characteristic monument of this civilization, primordially rude and primordially majestic, is the so-called Stonehenge, a sanctuary erected on Salisbury Plain about 1100 B.C. or some-what earlier. During the invasion of Celts tribes fortresses were built on hilltops, towns began to appear in the wealthier south-east, though they were at first no more than large groups of wattle-and-clay houses enriched by a sort of fortificated fence. The invasion by the Romans brought the country into contact with the Roman civilization. Major systems of fortifications were constructed as a defense.
2. Then came the occupation of the country by Anglo-Saxon tribes. The Anglo-Saxon had no big cities, only scattered villages and townships, that is, arrangements of the lord’s house with the wattle-and-mud huts of the villagers grouped round it. The huts were primitive affairs, of wood and clay with no chimney over the open hearth but a hole in the roof to let the smoke out and to let the light in. The hearth was usually nothing more complicated than just a large flat stone in the middle of the earthen floor.
3. The lord’s house had a large yard where much of the housekeeping work was done with lots of auxiliary buildings like sheds and barns and the like inside it. It was protected by a stout fence supplemented by a sort of circular fortification, or mound. The interior arrangements were characteristic: there was always a spacious hall where most of the family’s social life was spent, where the lord had his meals with his family and his guests. The light came through narrow holes in the walls covered with oiled linen.
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What was the lord’s house protected by?

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Early Modernism
1.  With the Industrial Revolution, the availability of newly-available building materials such as iron, steel, and sheet glass drove the invention of new building techniques. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction.
2.  This kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description of places like Manchester and parts of West Yorkshire as “Dark satanic mills”. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction, followed in 1864 by the first glass and metal curtain wall. A further development was that of the steel-framed skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan.
3. Around 1900 a number of architects and designers around the world began developing new solutions to integrate traditional precedents (classicism or Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. The work of some of these were a part of what is broadly categorized as Art Nouveau ("New Art").
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