Shadowing-Übung: Cambridge 11 Test 2 Section 4 Listening - Englisch Sprechen Lernen mit Video
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Section 4 You will hear part of a lecture to students of architecture about the design of a public building.
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First, you have some time to look at questions 31 to 40.
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Thank you.
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Transcription by CastingWords
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we've been discussing the factors the architect has to consider
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when designing domestic buildings i'm going to move on now to consider the design of public buildings
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and i'll illustrate this by referring to the new taylor concert hall that's recently been completed here in the city
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So, as with a domestic building, when designing a public building,
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an architect needs to consider the function of the building.
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For example, is it to be used primarily for entertainment or for education or for administration?
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The second thing the architect needs to think about is the context of the building.
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This includes its physical location, obviously, but it also includes the social meaning of the building,
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how it relates to the people it's built for.
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And finally, for important public buildings, the architect may also be looking for a central symbolic idea on which to base the design,
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a sort of metaphor for the building and the way in which it is used.
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Let's look at the new Taylor Concert Hall in relation to these ideas.
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The location chosen was a site in a run -down district that has been ignored in previous redevelopment plans.
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It was occupied by a factory that has been empty for some years.
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The whole area was some distance from the high -rise office blocks of the central business district and shopping centre,
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but it was only one kilometre from the ring road.
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The site itself was bordered to the north by a canal,
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which had once been used by boats bringing in raw materials when the area was used for manufacturing.
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The architect chosen for the project was Tom Harrison.
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He found the main design challenge was the location of the site, in an area that had no neighbouring buildings of any importance.
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To reflect the fact that the significance of the building in this quite run -down location was as yet unknown,
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he decided to create a building centred around the idea of a mystery, something whose meaning still has to be discovered.
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So how was this reflected in the design of the building?
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Well, Harrison decided to create pedestrian access to the building and to make use of the presence of water on the site.
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As people approach the entrance, they therefore have to cross over a bridge.
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He wanted to give people a feeling of suspense as they see the building first from a distance and then close up,
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and the initial impression he wanted to create from the shape of the building as a whole was that of a box.
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The first side that people see, the southern wall, is just a high flat wall uninterrupted by any windows.
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This might sound off -putting, but it supports Harrison's concept of the building,
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that the person approaching is intrigued and wonders what will be inside.
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And this flat wall also has another purpose.
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At night time, projectors are switched on and it functions as a huge screen onto which images are projected.
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The auditorium itself seats 1 ,500 people, the floors supported by 10 massive pads.
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These are constructed from rubber and so are able to absorb any vibrations from outside and prevent them from affecting the auditorium.
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The walls are made of several layers of honey -coloured wood, all sourced from local beech trees.
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In order to improve the acoustic properties of the auditorium and to amplify the sound, They are not straight, they are curved.
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The acoustics are also adjustable, according to the size of orchestra and the type of music being played.
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In order to achieve this, there are nine movable panels in the ceiling above the orchestra, which are all individually motorised.
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And the walls also have curtains, which can be opened or closed to change the acoustics.
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The reaction of the public to the new building has generally been positive.
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However, the evaluation of some critics has been less enthusiastic.
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In spite of Harrison's efforts to use local materials, they criticise the style of the design as being international rather than local,
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and say it doesn't reflect features of the landscape or society for which it is built.
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That is the end of Section 4.
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You now have half a minute to check your answers.
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That is the end of the listening test.
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You now have ten minutes to transfer your answers to the answer sheet.
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Please stop writing and wait for your question booklet to be collected.
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Wortschatz und Sprechhinweise zu dieser Lektion
Diese Sprechübung basiert auf dem Video „Cambridge 11 Test 2 Section 4 Listening“. Diese Wörter kommen am häufigsten vor: design, architect, wall, location, site. Dieses Video enthält 52 Sätze und 771 Wörter zum Nachsprechen. Der gesprochene Teil dauert 7:22. Der Sprecher spricht langsam, etwa 105 Wörter pro Minute, sodass genug Zeit bleibt, jeden Laut nachzuahmen. 86 % der Wörter gehören zu den 3.000 häufigsten im Englischen; den Rest solltest du dir vor dem Üben ansehen.
Wichtiger Wortschatz in diesem Video
15 lernenswerte Wörter aus dem Video, mit Aussprache und Bedeutung:
| Wort | Aussprache | Bedeutung |
|---|---|---|
| architect Substantiv | /ˈɑɹ.kɪˌtɛkt/ | Architekt, Architektin |
| reflect Verb | /ɹɪˈflɛkt/ | reflektieren, zurückspiegeln |
| acoustic Adjektiv | /əˈkuː.stɪk/ | akustisch |
| auditorium Substantiv | /ˌɔ.dɪˌto.ɹi.əm/ | Zuschauerraum, Auditorium |
| orchestra Substantiv | /ˈɔː.kɪs.tɹə/ | Orchester |
| ignore Verb | /ɪɡˈnɔː/ | ignorieren, missachten |
| primarily Adverb | /ˈpɹaɪ.mə.ɹə.li/ | hauptsächlich, in erster Linie |
| mystery Substantiv | /ˈmɪs.t(ə.)ɹi/ | Geheimnis, Rätsel |
| refer Verb | /ɹɪˈfɜː/ | verweisen |
| architecture Substantiv | /ˈɑː.kɪˌtɛk.t͡ʃə/ | Architektur, Baustil |
| layer Substantiv | /ˈleɪ̯ɚ/ | Lage, Schicht |
| sheet Substantiv | /ʃit/ | Blatt, Bogen |
| discover Verb | /dɪˈskʌvə/ | entdecken |
| entrance Substantiv | /ˈɛn.tɹəns/ | Eingang, Einfahrt |
| collect Verb | /ˈkɑlɪkt/ | sammeln, aufsammeln |
Phrasal Verbs, die du hören wirst
| Wort | Bedeutung |
|---|---|
| run down Verb | überfahren |
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 | been completed · be used · is used |
| Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist | that's recently been completed · has been ignored · has been |
| Relativsätze who / which + Satz – eine Zusatzinformation über eine Person oder Sache | orchestra, which are · curtains, which can |
| Möglichkeit mit „might / may“ might/may + Verb – etwas ist möglich, aber nicht sicher | may also be · might sound |
Aussprache, auf die du achten solltest
Der Sprecher verwendet 4 Kurzformen und abgeschwächte Formen, zum Beispiel doesn't, I'll, I'm. Sprich sie in der kurzen Form, so wie du sie hörst.
- Die Laute „sh“ und „zh“: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
- Lange Wörter – auf die Betonung achten: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/
Laute, die Deutschsprachigen schwerfallen:
- Stimmhafter Auslaut — /b/, /d/, /g/, /z/, /v/ am Wortende nicht verhärten: curve /kɚv/, pad /pæd/, coloured /ˈkʌl.əd/, absorb /æbˈsɔɹb/, criticize /ˈkɹɪtɪsaɪz/
- /æ/ — offener als „ä“: canal /kəˈnæl/, evaluation /ɪˌvæljuˈeɪʃn̩/, pad /pæd/, enthusiastic /ɪnˌθjuːzɪˈæstɪk/, absorb /æbˈsɔɹb/
- /dʒ/ — stimmhaft, nicht „tsch“: individually /ˌɪndɪˈvɪd͡ʒ(u)əli/, adjustable /əˈd͡ʒʌstəbəl/, projector /pɹəˈd͡ʒɛktə/
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 architect, reflect, acoustic.
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.