Shadowing-Übung: Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home (Design Masterclass) - Englisch Sprechen Lernen mit Video
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I'm Stephen Harris, the founding partner of Stephen Harris Architects we're based in new
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york this is our house in rancho mirage california this is
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my husband lucerne reese roberts i am the founding partner of rrp
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which does interior design and landscape these are five considerations
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that are really important for us and virtually every project we do
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One of the non -discretionary things that we do when we're designing a house is think about the approach,
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the sense of arrival, and the transition between being outside and being inside.
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There was a young man who was ahead of me at
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Princeton who did his undergraduate thesis on psychoanalysis at the place of arrival.
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And that whole idea that one psychologically transitions from one situation to another is really important to me.
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There is obviously that point at which you move from outside to inside.
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There's a way that you can make more stages of the outside
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and more stages of the inside so that rather than it being a direct and abrupt transition,
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it goes from this to this to this to this to this to this to this.
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Here, I think of the front door as the gate.
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As you move around and approach the house, you get a glimpse of the house across the golf course and behind the kind of hills that we've constructed there.
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and you come around to this courtyard which is virtually blind then
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when you come in there is a whole sequence of how
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the view unfolds we then step down into the sitting room and the top of the mountains begin to reveal themselves
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so it moves you from one place to another
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another house that we did was on a quarry
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and similarly there is a cul -de -sac where you turn off the main road you go up
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that road and then you approach a driveway you go up
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that driveway you come to a courtyard similarly there is a blind facade you move through that
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and then as you move down the stairs the view of the quarry reveals itself it's a kind of tease
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if you will that induces you to keep going.
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So I think one of the most important things about architecture is inducing movement.
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It is not static.
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So understanding that which precedes it is very important.
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At the same time, that which antecedes it.
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After you pass through the boundary condition, finding a way to weave those two together So there's a kind of counterpoint from one side to the other.
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One of the non -negotiables whenever we do a house is the relationship between the inside and the outside.
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As a backdrop to most of our projects, we look to the landscape beyond the site of the house
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so that we can extend the sense of house and the garden to the landscape beyond.
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I think at the same time as you start thinking about what you want for a home
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and the spaces you want to create, you should start straight away thinking about the landscape
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and really as much about also where the sun rises and sets
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because you want to bring light into the house you want to enjoy light on the landscape around you
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and in the garden the other areas that we love is creating outdoor sitting areas.
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where people can congregate almost like an outdoor sitting room.
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Something that encourages you to come together and relax.
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And what is so special about this site is that we are on the middle of a golf course
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and it feels as if we're in a park.
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And what we did was to create contours and berms.
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It gives a sense of depth and it gives a complexity to the landscape
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which is essential to creating that intimacy that you want.
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Another relatively non -negotiable thing that we consider
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when we're working on a project is how one moves through the space, the circulation.
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I think when you're planning a residential project, find a way to make the best rooms those in
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which you spend the most time so with one hand make a flow chart
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and figure out what rooms do you spend the most time in
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if it's the kitchen if it's a dining room table
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if it is the living room whatever that is chart that
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and figure out where you're spending your time with the other
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hand analyze the site where is light best in the morning
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where is light best in the afternoon here we happen to know
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that looking west at dawn allows you to see everything
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with light on it it's magical then minimize circulation very rarely
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have hallways always you're moving through one room to get to another
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getting from the bedroom to the kitchen is less about expedience than it is about experience
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trying to choreograph a procession through rooms is really important
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so you actually come to use all of a space all
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of the house there's a certain perversity in this house where it's fundamentally a one -bedroom house
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which happens to have three guest rooms well the guest rooms
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are arranged like a motel you move outside through the garden
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to those rooms it also allows us to use this as a one -bedroom house
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if it is just us
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so it is the root you get from one place to another
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that strings the experiences together by reducing the amount of corridors,
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circulation, unusable spaces, so you actually come to use all of the space, all of the house.
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When we start working on a project with clients, we like to find out their domestic needs,
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the way they live, their agenda of what they want for the house.
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Being a painter, I knew what I wanted for a studio
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and this is one of the things that was very important for me to have in this new house.
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And on Stephen's wish list was having a garage where he could keep all his cars.
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My sense is the best way for a client to really
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think about what they need for a house is think about the process of each day and how they live it.
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And it's always creating a list, but it's also ideas about each space.
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And what we try and persuade clients is do not create spaces that you do not use, even with their more formal dining rooms.
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See if it can have another use, whether it's a library, somewhere to work.
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People congregate there, having coffee, chatting.
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And that's the sort of thing we try and encourage people to do, is that it should be multi -use space.
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The same with the living room.
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Sadly, when the TV is somewhere else, people often don't go into the living room.
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And we try and encourage people to put a television in the living room.
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It can be hidden, there are different ways to do that.
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But it will also encourage people to use what can often be the best room in the house.
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There's a big difference between size and scale.
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Scale is much more a question of proportion.
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than it is dimension.
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Most horizontal space is foreshortened in perspective, while vertical space is not.
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So organizing proportion and scale is critical to making a room which,
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although very large, can also feel intimate for two or three people.
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And in many cases, it's the space between things that is more meaningful than the actual space itself.
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It needs to be such that people can have an ease of conversation without it feeling too big and spread out.
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And if that means, as in this house, there are two conversation areas in one room.
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In this case, the fireplace in the cold winter days, and on the warmer days, they're congregating on the other end.
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I think people sometimes equate the size of a primary bedroom with the importance and value of the house.
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I think in fact a proper dressing room, a proper closet with an island, and a generous bathroom is at least as important.
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One typically spends more time or wake hours in the bathroom, the shower, the tub, the loo, all of that than you do in the bedroom.
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You're typically asleep in the bedroom.
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If you don't get the proportions right, all the fancy materials in the Western world aren't going to help.
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I think lighting, whether it's natural daylight in the mornings or artificial at night,
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is so important to how special the room feels.
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And it makes it feel more expansive.
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So you don't need to overdo this with scale.
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And one of the most important things is to have a sense of generosity and ease and comfort,
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but also an intimacy about where people congregate.
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I hope you've enjoyed watching this and are showing you the different spaces both indoors and outdoors.
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Not only are these things which are important for us, I think they're important for how one thinks about domestic life.
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Wortschatz und Sprechhinweise zu dieser Lektion
Diese Sprechübung auf Niveau B2 basiert auf dem Video „Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home“. Diese Wörter kommen am häufigsten vor: space, landscape, bedroom. Dieses Video enthält 110 Sätze und 1512 Wörter zum Nachsprechen. Der gesprochene Teil dauert 12:03. Der Sprecher spricht gleichmäßig mit etwa 125 Wörtern pro Minute – ein angenehmes Tempo fürs Shadowing. 85 % der Wörter gehören zu den 3.000 häufigsten im Englischen; den Rest solltest du dir vor dem Üben ansehen.
Wichtiger Wortschatz in diesem Video
Die 15 anspruchsvollsten Wörter aus dem Video, mit Aussprache und Bedeutung:
| Wort | Aussprache | Bedeutung |
|---|---|---|
| congregate Verb | /ˈkɒŋɡɹəɡeɪt/ | ansammeln, versammeln |
| circulation Substantiv | /ˌsɝkjʊˈleɪʃən/ | Kreislauf, Zirkulation |
| proportion Substantiv | /pɹəˈpɔɹʃən/ | Teil, Proportion |
| dine Verb | /daɪn/ | speisen |
| negotiable Adjektiv | /nɪˈɡoʊʃəbəl/ | überwindbar, befahrbar |
| induce Verb | /ɪnˈduːs/ | dazu bringen, anstacheln |
| quarry Substantiv | /ˈk(w)ɔɹ.i/ | Steinbruch |
| intimacy Substantiv | /ˈɪn.tɪ.mə.si/ | Intimität |
| driveway Substantiv | /ˈdɹaɪvˌweɪ/ | Einfahrt, Auffahrt |
| courtyard Substantiv | /ˈkɔɹt.jɑɹd/ | Hof |
| abrupt Adjektiv | /əˈbɹʌpt/ | abrupt, jäh |
| contour Substantiv | /ˈkɒntɔː/ | Kontur |
| counterpoint Substantiv | /ˈkaʊntə(ɹ)ˌpɔɪnt/ | Kontrapunkt |
| expansive Adjektiv | /ɪkˈspænsɪv/ | umfangreich, umfassend |
| facade Substantiv | /fəˈsɑ(ː)d/ | Fassade |
Phrasal Verbs, die du hören wirst
| Wort | Aussprache | Bedeutung |
|---|---|---|
| figure out Verb | herausfinden | |
| go up Verb | hinaufgehen, steigen | |
| come together Verb | /ˈkʌm tʊˈɡɛðɚ/ | zusammenkommen |
| find out Verb | herausfinden, erfahren | |
| turn off Verb | ausschalten, abschalten |
Grammatik in diesem Video
Die Strukturen, die der Sprecher am häufigsten verwendet, mit den genauen Worten aus dem Video:
| Struktur | Im Video |
|---|---|
| Passiv be + Partizip Perfekt – wichtig ist, was geschieht, nicht wer es tut | are arranged · can be hidden · is foreshortened |
| Relativsätze who / which + Satz – eine Zusatzinformation über eine Person oder Sache | man who was · courtyard which is · things which are |
| Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist | we've constructed · you've enjoyed |
Aussprache, auf die du achten solltest
Der Sprecher verwendet 17 Kurzformen und abgeschwächte Formen, zum Beispiel we're, you're, don't. Sprich sie in der kurzen Form, so wie du sie hörst.
- Die Laute „sh“ und „zh“: circulation /ˌsɝkjʊˈleɪʃən/, proportion /pɹəˈpɔɹʃən/, negotiable /nɪˈɡoʊʃəbəl/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, mirage /mɪˈɹɑːʒ/
- Lange Wörter – auf die Betonung achten: circulation /ˌsɝkjʊˈleɪʃən/, negotiable /nɪˈɡoʊʃəbəl/, intimacy /ˈɪn.tɪ.mə.si/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, expedience /ɛkˈspiː.dɪ.əns/
Laute, die Deutschsprachigen schwerfallen:
- /w/ — mit runden Lippen, nicht wie das deutsche „w“ (/v/): quarry /ˈk(w)ɔɹ.i/, driveway /ˈdɹaɪvˌweɪ/, equate /ɪˈkweɪt/, weave /wiːv/, hallway /ˈhɔlˌweɪ/
- Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: courtyard /ˈkɔɹt.jɑɹd/, expansive /ɪkˈspænsɪv/, facade /fəˈsɑ(ː)d/, mirage /mɪˈɹɑːʒ/, precede /pɹɪˈsid/
- /æ/ — offener als „ä“: choreograph /ˈkɔɹjəɡɹæf/, expansive /ɪkˈspænsɪv/, backdrop /ˈbæk.dɹɑp/, analyze /ˈæn.əˌlaɪz/, static /ˈstæt.ɪk/
So übst du mit diesem Video
- Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
- Sprich Satz für Satz in normaler Geschwindigkeit nach und wiederhole jeden, bis dein Rhythmus zum Sprecher passt.
- Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie congregate, circulation, proportion.
Was ist die Shadowing-Technik?
Shadowing ist eine wissenschaftlich fundierte Sprachlerntechnik, die ursprünglich für die professionelle Dolmetscherausbildung entwickelt und durch den Polyglotten Dr. Alexander Arguelles populär gemacht wurde. Die Methode ist einfach aber wirkungsvoll: Du hörst englisches Audio von Muttersprachlern und wiederholst es sofort laut — wie ein Schatten, der dem Sprecher mit nur 1–2 Sekunden Verzögerung folgt. Anders als passives Hören oder Grammatikübungen zwingt Shadowing dein Gehirn und deine Mundmuskulatur, gleichzeitig echte Sprachmuster zu verarbeiten und zu reproduzieren. Studien zeigen, dass es Aussprachegenauigkeit, Intonation, Rhythmus, verbundene Sprache, Hörverständnis und Sprechflüssigkeit signifikant verbessert — was es zu einer der effektivsten Methoden für die IELTS Speaking-Vorbereitung und reale englische Kommunikation macht.