Shadowing-Übung: How This Famous Architect Changed America | Architectural Digest - Englisch Sprechen Lernen mit Video
Lektion wird erstellt...
1
Frank Lloyd Wright designed over 1 ,000 buildings during a career that spanned more than 70 years and was constantly reinventing himself.
2
From developing his philosophy of organic architecture to his famous prairie -style houses,
3
he even created a type of home specifically intended to make great design affordable to the average American, which we'll talk about at the end of this video.
4
Hi, I'm Michael Weitzner.
5
I'm an architect and today we're going to break down the many styles of Frank Lloyd Wright
6
and see how his work evolved over time.
7
Frank Lloyd Wright was born in 1867, just two years after the end of the American Civil War.
8
He died in 1959, shortly after the U .S sent troops into Vietnam.
9
In that 92 -year lifespan, he would witness a giant leap in technology.
10
The implementation of indoor plumbing, electricity, the invention of the telephone, the automobile, the airplane, radio,
11
television, and the dawn of space travel.
12
Of the 1 ,000 buildings he's designed in his lifetime, 532 of them were built, an astounding number.
13
But to understand how his style evolved over his career, we need to go back to one of his very first jobs.
14
At age 20, Wright joined the office of Adler and Sullivan, a prominent and important practice in Chicago, whose ideas of skyscraper design are still in practice today.
15
Louis Sullivan was known as the father of modernism.
16
Sullivan believed that first and foremost, a building should be functional.
17
In fact, he coined the term form follows function, which would inspire architects of skyscrapers and modern buildings for generations to come, including Frank Lloyd Wright.
18
While working for Sullivan, Wright quickly rose to be relied upon as a prominent designer.
19
So much so that when one looks at a floor plan of their new offices in the auditorium building.
20
Along with Sullivan and Adler's offices, there is an office labeled Mr. Wright's Room.
21
He was only 22 at the time.
22
Two years later, at age 24, Frank Lloyd Wright contributed significantly to the design of the Charnley House in collaboration with Louis Sullivan.
23
This is the Charnley House on what is called the Gold Coast of Chicago, the northeast section near the lake.
24
This house foreshadows many of his design ideas that were to come.
25
You can also see Sullivan's presence here as it bears the hallmarks of the Chicago school style of early modernism.
26
So what you see in this photograph is the building resembles very strongly an Italianate palazzo.
27
It's got this veranda that sticks off the front with this Sullivan -esque kind of ornamentation that he was known for.
28
And it's got this band at the top, sort of the beginnings of the Clara story
29
that Wright would later go on to use quite often and it's got this prominent entrance that Sullivan used quite often.
30
So what's interesting about this is that a lot of the hallmarks that Sullivan used in his skyscrapers are actually evident here.
31
Sullivan's ideas of skyscraper design were actually inspired by a column, believe it or not, where there's a base, there's a shaft, and there's a capital.
32
So the other thing that I find really interesting about this photograph, there's also sort of the beginnings of what we'll see later in Wright's prairie style.
33
And we'll see later in examples how Wright takes this and expands on it even further.
34
Soon after this building was built, Wright took on some after -hours freelance work because he was in need of some extra money.
35
When Sullivan found out, he was enraged
36
because it was specifically stated in his contract that Wright would not do any freelance work.
37
And so Wright left the company to strike out on his own.
38
Whether he was fired or quit remains a mystery.
39
At the age of 26, Wright's solo career was underway.
40
He had a wife, Catherine, and two children to support and another one on the way.
41
One of his first commissions was for a friend in River Forest, near Oak Park, where he and his family lived, just outside of Chicago.
42
It's here that we see the beginning of a style that he would truly make his own, and one that he is possibly most remembered for, the prairie style.
43
The prairie style is known for horizontal lines being parallel to the earth, open floor plans, low -pitched roofs,
44
strong overhanging eaves, and a strong connection to nature, among other things.
45
And while Wright was a pioneer of the prairie style and its most famous practitioner, he was not alone in developing it.
46
A group of architects
47
that Wright referred to as the New School of the Middle
48
West were embarking on a journey to create a new American architectural style together, distinct from the traditional European influences.
49
Inspired by the sweeping plains of the western U .S., this group included architects such as George Elmsley, Myron Hunt, and George Washington Mayer.
50
While they all contributed to the shared American language of architecture, it was undoubtedly Wright who would take these ideas to their fullest expression.
51
This is the Winslow House, which reveals the nascent ideas of the prairie style.
52
So here's everything that jumps out at me.
53
One thing he does, which is very reminiscent of Sullivan,
54
is he creates that same sort of strong entrance made out of stone with ornamentation around it
55
and these square windows but now you can see instead of this tripartite layout, he actually only has two.
56
sort of levels in this building he's got this base
57
which the entrance is worked into out of roman brick
58
and then above
59
that he's got this frieze you see the beginnings of what
60
he would later refer to as his clerestory windows with this strong overhang of a hip roof
61
so that dark material below the roof makes it act like a void
62
and here it actually reads as
63
if the roof were floating above this base piece at the bottom
64
so the other thing that makes this very distinctive from the Charnley House is how horizontal it is.
65
And he articulates that by breaking up the mass into these long, low, horizontal pieces.
66
So this house is not yet fully in the prairie style.
67
Wrightwood received many, many more commissions in the following years.
68
These included the Willits House, the Susan Dana Lawrence House, the Heller House.
69
One of the most notable was the homey design for Darwin D.
70
Martin in Buffalo.
71
The Martin House takes the prairie style to a new level.
72
This is a full -on prairie -style house compared to the Winslow House.
73
Wright does a number of things to increase the horizontality and make it more parallel to the earth.
74
And one of the things he liked to do was create these planters
75
so that the house sort of stepped up from the earth up to the roof.
76
And the other thing that you could see very strongly is there's no longer any symmetry.
77
Where the Winslow House was clearly a rectangle with a roof on top of it, this you don't read the rectangle at all.
78
One of the core principles of Wright's architecture was the open plan and breaking open the box.
79
Where most architects would create a rectangular room and plan, Wright would actually break this room up and break the corners away.
80
So essentially what you'd get are these open corners and he would also do that in the vertical direction.
81
He would take the roof and he would bring the wall only up a certain distance
82
so that the roof appears to hover over the wall.
83
Then he would just infill that with a piece of glass.
84
So he liked to break open the corners, essentially.
85
That's how he felt.
86
The box gets broken open.
87
And you could see that right here, right?
88
So you could see these windows and the roof above floating above.
89
You could see it over there as well.
90
So instead of a full wall coming up and meeting the eave of the roof, what he does here is he just brings these piers up
91
and then he fills in between the piers with a spandrel
92
which creates a terrace and then he pushes that wall back further
93
and he all of a sudden gets this whole different reading of in
94
and out where the exterior and the interior become blurred
95
so these windows are breaking the box vertically and these piers are breaking the box horizontally A few years later,
96
he would take the prairie style to its pinnacle with his design for the Roby House on the south side of Chicago.
97
Okay, this is the Roby House.
98
This was completed in 1910, and it still looks as striking today, a hundred and something years later, as it did back then.
99
What he's done is he's gone even more horizontal than he did at the Martin House.
100
So now he's lowered these hip roofs so they're even more shallow.
101
They extend even further look how far this roof extends out
102
over this terrace he pulls the brick of the terrace further
103
out he has this longer line of windows under this roof eve but now you can see the total separation
104
between roof and form below as if the roof hovers
105
and these windows are what fills that gap wright was very inspired by nature
106
and so by breaking the box it was his way of bringing more of the outdoors inside the house.
107
He wanted to blur the boundary between the inside of the house and the outdoors.
108
Let's take a look at how these windows relate to the inside of the house.
109
So this row of windows that you see right here along the street are actually this row of windows on the inside.
110
And the other thing he does is the idea of the open plan.
111
So he has a hearth or a fireplace in the center of the room
112
and that's the only divider between what's the living room and what's the dining room on the other side of that hearth.
113
It's just a fragment of a wall so the corners are removed and one central element makes the division between two rooms.
114
All the hallmarks of the prairie style are here.
115
It's low and horizontal.
116
It's made out of Roman brick.
117
He has these huge roof roof overhangs.
118
Walls that rise up from the landscape as planters and then become the house.
119
So the building transitions from the earth to the roof.
120
And of course, the blending of interior and exterior materials.
121
So he brings the brick that he builds the house out of into the interior.
122
It is in many ways the most elegant example of the prairie houses.
123
So at this point in time, there are a series of radical changes in Wright's personal life.
124
These would lead him to uproot his life and reinvent himself as well as his architectural style in new surroundings.
125
He left his wife and six children and left the United States to go to Europe with Martha Borthwick Cheney, known as Maema.
126
Cheney was a translator and an early figure in the feminist movement who Wright considered his intellectual equal.
127
After two years in Europe, Wright returns in 1911 and settles in Spring Green, Wisconsin, where he builds himself a new house that he called Taliesin,
128
which means shining brow in Welsh, Wright's ancestral home.
129
So it employs sort of all his ideas of the prairie style.
130
In 1914, while Wright was in Chicago overseeing the Midway Gardens construction, tragedy would befall Taliesin.
131
A deranged worker murdered Cheney and her two children, along with four others, and set the house on fire.
132
Wright would rebuild, but the tragic incident left a deep wound
133
and effectively marks the end of Wright's works in the prairie style.
134
Shortly after, Wright was invited to Japan to design the Imperial hotel.
135
Wright was strongly influenced by Japanese art and architecture and was an avid collector of Japanese prints and sculptures.
136
And so it is ironic that when he received his first commission in Japan, he looked to other cultures for inspiration for the design.
137
It seems to be somewhat inspired by Mayan and Native American art and architectural forms, which would continue to influence his work going forward.
138
In 1919, a new period of Wright's architecture began, this time in Los Angeles.
139
So this is the hollyhock house
140
and there are still many elements of the prairie style here where it spreads out horizontally along the land
141
and he keeps these low walls that act as planters in some cases and others terraces.
142
But obviously Wright is looking at something new
143
and he's created these heavy roof forms that clearly appear to be Mayan in their influence.
144
So now instead of using brick he's using stucco
145
which changes the whole flavor of the house instead of having a base
146
and then a freeze
147
and then a roof now the roof sits directly on the
148
base there's no intermediate zone of the facades the other thing wright does
149
because now we're in a very warm climate is he He
150
has a lot of the windows facing inward towards an interior courtyard instead of along the exterior.
151
So he takes another idea of bringing nature and the outdoors to the interior, but here he borrows from the Spanish colonial
152
and he actually creates a courtyard with gardens and hanging plants and wraps the house around that.
153
So the Hollyhock House is named for the flowers that grow wild on Olive Hill where the house was built.
154
This house, with its massive roof and Mayan -inspired forms, would lead to a new period for Wright, one based on innovation and technology.
155
So this Mayan -influenced design continued with the textile block houses in the Hollywood Hills, which we talked about in our Haunted House video.
156
These houses employed blocks cast in concrete with ornamental designs in the mold
157
and were connected with steel reinforcing rods to create these elaborate and intricate designs.
158
These included the Ennis House, the Freeman House, the Stora House, and the Millard House, known as La Miniatura, which is in Pasadena.
159
These blocks were sometimes perforated and sometimes opaque, and the textile blocks were created on the site where the house was built,
160
using the earth and sand and stones from the ground on which they were constructed.
161
This was core to an idea that Wright had been exploring since the early days of the prairie style, a guiding design philosophy which he called organic architecture.
162
In his own words, he said, No house should ever be on a hill or on anything.
163
It should be of the hill, belonging to it.
164
Hill and house should live together, each the happier for the other.
165
And although the idea of organic architecture had informed his entire career since he first conceived of it in 1894,
166
he would continue to hone this idea even further in two of his most famous houses, Taliesin West and Falling Water.
167
With the onset of the Depression after the crash of 1929, Wright found himself without any work,
168
and he decided to create a fellowship where he taught his ideas and principles of organic architecture.
169
Edgar Tafel wrote a terrific book on the fellowship called Apprentice to Genius.
170
I always encourage aspiring architects to read it.
171
If after they read it, they're not inspired, I tell them they should consider a different profession.
172
So in 1927, Wright goes to Arizona.
173
He gets a commission to collaborate on a design for a hotel in Phoenix, designed for the Biltmore Company with one of his former students.
174
There he discovered the dry, arid landscape appealed to him and decided to purchase land outside of Phoenix in Scottsdale.
175
It was here that he would design and build Taliesin West, which would both embody his ideas of organic architecture
176
and serve as a place where he could teach them to a new generation of American architects.
177
In fact, the apprentice is participating in Wright's Taliesin Fellowship contributed greatly to the creation of the estate, not only contributing to its design,
178
but also taking part in its fabrication and construction, mixing cement, installing frameworks, and even quarrying stones.
179
The finished estate was called Taliesin West, and it is now the home of the Frank Lloyd Wright Foundation.
180
So this is Taliesin West, and what I find remarkable about it is how it echoes the forms of the hill behind it.
181
This is a great example of Wright's maxim to build of the hill and not on the hill.
182
So you can see he's still using elements from the prairie style.
183
He's using materials from the site like he did in the Los Angeles houses.
184
And it's all coming together to form this new kind of organic architecture, one that echoes the desert landscape.
185
But now he's trying to shield the really hot desert sun.
186
And so he does a few interesting things.
187
Over here on the right, He creates these exterior beams that sit above the roof and are angled up.
188
He hangs what was originally canvas from it, but is now a sort of polycarbonate plastic material.
189
The idea being that it would allow the light in, but without too much heat.
190
Let's take a look at the house from another side.
191
I love how he echoes the hill in a number of different ways.
192
He echoes the hill by canting the concrete walls of the base.
193
He echoes the hill by the slope of the wooden beams on this roof,
194
and he echoes the hill with these stairs that gradually, very gradually, make their way up with these very short risers and deep treads,
195
so that, again, it looks like part of the landscape has just come right down through the building.
196
So the other thing is the way, you know, this wooden roof hovers above the stone base
197
and his same idea as he had with the prairie style where in that gap he puts glass
198
so that the roof appears to hover.
199
So what really shows his ideas of organic architecture at play here are the materials.
200
He's doing something really special here with the concrete
201
and he's doing it on the exterior as well as on the interior of the house.
202
So concrete is essentially three ingredients it's cement, which acts as glue, it's water, and it's aggregate.
203
And the aggregate is typically gravel -sized stones that are quite often not even exposed.
204
But in this case, Wright is doing something radically different.
205
And he's taking stones and rocks and boulders even that he finds on the site around the building,
206
and he's inserting them into the concrete so in effect They're acting like aggregate.
207
And what I love about this is the aggregate here is
208
so big that it's sort of going right up to the point where, is this a stone wall with like excessive amounts of mortar?
209
Or is it a concrete wall with really huge aggregate?
210
And I love that there's sort of an ambiguity about that.
211
He's using what he finds at the site to reinforce his idea of organic architecture.
212
And the other thing it does in Wright's ideas about organic architecture is it brings the outside in.
213
So the materials he uses on the exterior are used on the interior.
214
So Taliesin West stands today as an incredible example of Wright's philosophy of organic architecture.
215
But the next house we're going to look at is considered by many to be his greatest work.
216
This is falling water.
217
There was an apprentice at the Taliesin Fellowship, Edgar Kaufman Jr., whose father was a department store magnate.
218
Edgar Kaufman Sr., known as EJ, asked Wright to design a country house for him in the woods about an hour south of Pittsburgh.
219
This house, arguably one of the most famous in the world, would bring Wright, at almost 70 years old, a new wave of notoriety.
220
Considered a modern masterpiece, the house is composed of a series of stacked balconies, like concrete trays, cantilevering out over a waterfall.
221
Glass fills the horizontal voids between the trays.
222
So one way to look at this is that these trays move up the mountain from the falls.
223
But the other way to look at it is they actually cascade down the mountain, just like the waterfalls.
224
So most architects would have placed the house with a view of the falls, but not Wright.
225
Wright puts the house on top of the falls.
226
He basically asks EJ, the owner of the house, where do you sit?
227
and he said well i sit on this rock
228
and he built the house around
229
that rock on top of the falls in fact the rock
230
surface is visible coming through the floor of the living room
231
inside the house he was bringing the idea of organic architecture
232
to a whole other level it becomes one with the falls a unified whole architecture
233
and nature acting together and the other thing he does is these windows actually open from the corner.
234
So again, he's still with his idea of breaking the box opening up the corners.
235
So we're going to look at another angle of the house
236
which really shows how the house is an evolution from his early prairie style designs.
237
What's great about this image is you really feel the cantilevers of these concrete terraces.
238
And the other thing I really like about is you could see the trellis
239
that he created that's half inside and half outside.
240
You could see how he brings a stair right down to the falls
241
so you could actually sit on this lower landing and dangle your feet into the water.
242
I have visited this house twice over the years,
243
and it's an incredible revelation just how melded together he makes the architecture with the surrounding natural landscape.
244
So modernism had been flourishing in Europe for almost 20 years with architects like Walter Gropius, Le Corbusier, and Ludwig Mies van der Rohe,
245
and Wright was not a fan of this group.
246
The house is an astonishing example of modern architecture.
247
It was almost as if Wright, contemptuous of the European architects, said, you want to see a modern house?
248
I'll show you a modern house.
249
After Fallingwater, Wright starts to look at other building arrangements.
250
He is expanding his ideas about plan, using new shapes, hexagons, and triangles, and circles to create new kinds of layouts and spaces.
251
But the next notable evolution of his style was less focused on novel compositions
252
and more focused on the needs of everyday people.
253
So at the same time that Fallingwater is being built, Wright is approached by an old friend who was a journalist from Wisconsin,
254
who asked if he could design an affordable house for the everyman, not just the wealthy, one that would cost $5 ,000.
255
Wright embraced that challenge and set out some guidelines for what he called his Usonian houses.
256
The term is an acronym for the United States of North America
257
and was another advancement in Wright's quest to create a uniquely American style of architecture.
258
So this is the Herbert Jacobs house, the first Usonian that Wright built.
259
And we're looking at a view from the rear of the house, but a lot of things are evident when you view it.
260
So the Usonian house has the following characteristics.
261
Natural materials, wood, stone, and brick.
262
Flat roofs with extended overhangs to shade windows.
263
Parallel to the earth, a companion to the horizon.
264
No gutters or downspouts.
265
Claristory windows for natural lighting.
266
L -shaped plants to fit around a garden in harmony with nature, designed to blend with the surrounding landscape.
267
Built -ins to reduce furniture and clutter.
268
No painting.
269
Cover the walls in wood and oil the wood as necessary.
270
No plastering.
271
Interior trim is eliminated.
272
There's no basement.
273
It's just a slab on grade.
274
And in that concrete slab, he actually put heating coils so that he created a radiant floor for a very affordable house, which is kind of incredible.
275
He was an early adopter of that innovative technology.
276
Okay, so this is the front of the house, which has a completely different feel.
277
So I love the contrast between the two sides of the house.
278
So you can see that the rear of the house has a ton of glass to let the nature come inside.
279
But the front of the house is much more concealed.
280
The side that faces the street has very few windows, just this line of clerestory windows under the roof overhang.
281
So instead of lots of glass along the street where everybody could look in, Wright was basically advocating, put all the glass on the back of the house where it's more private.
282
The house ended up costing $5 ,500, including the architect's fee of $450.
283
He imagined these houses being built in bulk to bring the cost down even further.
284
Wright would design over 100 Usonian houses scattered all over the country.
285
And he did this after the age of 70.
286
He never stopped exploring.
287
He never stopped trying to create new things.
288
And he never stopped evolving his style.
289
Frank Lloyd Wright's career, in many ways, defies categorization.
290
There's simply no way we could unpack the entirety of Wright's work in a single video.
291
In this video, we focus primarily on his residential projects.
292
But we've left out many of his other works, including Unity Temple, the Larkin Building, the Price Tower, the Johnson Wax Headquarters,
293
Midway Gardens, the Guggenheim, the Marin County Center, the Synagogue in Elkins Park outside of Philadelphia,
294
Florida Southern College, and the list just keeps on going.
295
It's really a remarkable career, and in many ways unmatched by any other architect ever.
296
What is your favorite Frank Lloyd Wright building?
297
And let us know what other architects you'd like to learn more about.
📺 Gleicher Kanal
C11
How This Famous Architect Revolutionized The Way Architects Design | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B21
Inside Troian Bellisario & Patrick J. Adams’s Eclectic L.A. Home | Open Door | Architectural Digest
Daily ConversationWorking Adults
C11
Architect Breaks Down 5 of the Most Common New York Apartments | Architectural Digest
Daily ConversationWorking Adults
B23
Inside Amanda Seyfried’s Peaceful New York Home | Open Door | Architectural Digest
Daily ConversationWorking Adults
B23
Inside a Small 465-Sq-Ft Malibu Beach House With a Loft Bedroom | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
B22
Inside Lenny Kravitz’s Regal Paris Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B11
Inside Jensen and Danneel Ackles' Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B26
Inside The Home Frank Lloyd Wright Designed For His Son | Unique Spaces | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
C14
Every Way Emma Chamberlain Has Updated Her Home | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B24
Inside Lana Condor’s Dream California Home | Open Door | Architectural Digest
University StudentsWorking Adults
C14
Inside a Woodland Home Built Over Water to Become One With Nature | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
B22
Inside Nina Dobrev's 1920's Spanish-Style Home | Open Door | Architectural Digest
Business EnglishDaily ConversationUniversity Students
B27
Inside Dakota Johnson's Serene Hollywood Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B225
Inside Kendall Jenner’s Cozy Mountain Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B213
Inside Kendall Jenner’s Cozy L.A. Hideaway | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B210
Inside Kendall Jenner’s Home at Christmas | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B1Inside Jennifer Garner’s Farm-Style L.A. Home | Open Door | Architectural Digest
Business EnglishDaily ConversationUniversity Students
B2Inside Jeff Goldblum & Emilie Goldblum's Playful Guest House | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
✨ Empfohlenes Video
C11
98 Sätze
Self Educated Polymaths Will Win In The Digital Age
Daily ConversationUniversity StudentsWorking Adults
C11
51 Sätze
What's Under Your Feet in New York City?
Daily ConversationUniversity StudentsWorking Adults
B21
163 Sätze
Inside Fallingwater: Frank Lloyd Wright's Architectural Genius in Pennsylvania | House Tour
Daily ConversationWorking Adults
C11
143 Sätze
The Architecture of Kengo Kuma: A Complete Retrospective
Daily ConversationUniversity StudentsWorking Adults
C11
113 Sätze
Architectural Design Process Explained
Daily ConversationUniversity StudentsWorking Adults
C11
43 Sätze
An Experiment on a Bird in the Air Pump
Daily ConversationUniversity StudentsWorking Adults
C11
719 Sätze
View From The Top with Roelof Botha, Managing Partner of Sequoia Capital
Daily ConversationUniversity StudentsWorking Adults
C11
238 Sätze
Cosmic Insignificance Theory: A Simple Idea That Will Change Your Life Forever
Daily ConversationUniversity StudentsWorking Adults
C15
103 Sätze
Contemporary Topics 2 Unit 8 Lecture with Powerpoint
Daily ConversationUniversity Students
C13
62 Sätze
A mind-blowing explanation of symmetry | Frank Wilczek for Big Think
Daily ConversationUniversity StudentsWorking Adults
B22
96 Sätze
How can you legally fly a plane designed in 1910?
British AccentDaily ConversationUniversity StudentsWorking Adults
Wortschatz und Sprechhinweise zu dieser Lektion
Dieses Video enthält 297 Sätze und 4316 Wörter zum Nachsprechen. Der gesprochene Teil dauert 24:25. Der Sprecher spricht in natürlichem Tempo, etwa 177 Wörter pro Minute, ähnlich wie im Alltagsgespräch. Nur 80 % der Wörter gehören zu den 3.000 häufigsten im Englischen, der Wortschatz ist also anspruchsvoll.
Wichtiger Wortschatz in diesem Video
15 lernenswerte Wörter aus dem Video, mit Aussprache und Bedeutung:
| Wort | Aussprache | Bedeutung |
|---|---|---|
| architecture Substantiv | /ˈɑː.kɪˌtɛk.t͡ʃə/ | Architektur, Baustil |
| prairie Substantiv | /ˈpɹɛə.ɹi/ | Prärie |
| architect Substantiv | /ˈɑɹ.kɪˌtɛkt/ | Architekt, Architektin |
| organic Adjektiv | /ɔːˈɡænɪk/ | biologisch, organisch |
| concrete Adjektiv | /ˌkɑnˈkɹit/ | konkret, bestimmt |
| landscape Substantiv | /ˈlan(d)skeɪp/ | Landschaft |
| brick Substantiv | /ˈbɹɪk/ | Backstein, Ziegel |
| echo Substantiv | /ˈɛk.oʊ/ | Echo, Widerhall |
| exterior Adjektiv | /ɪkˈstɪɹiɚ/ | Außen- |
| horizontal Adjektiv | /ˌhoɹəˈzɑn.təl/ | horizontal, waagrecht |
| aggregate Substantiv | /ˈæɡ.ɹɪ.ɡət/ | Anhäufung, Ansammlung |
| contribute Verb | /kənˈtɹɪb.jut/ | beisteuern, beitragen |
| fellowship Substantiv | /ˈfɛl.ə.ʃɪp/ | Gemeinschaft, Kameradschaft |
| strongly Adverb | /ˈstɹɔŋli/ | stark |
| essentially Adverb | /ɪˈsɛnʃəli/ | im Wesentlichen, im Grunde |
Phrasal Verbs, die du hören wirst
| Wort | Aussprache | Bedeutung |
|---|---|---|
| break down Verb | versagen, den Geist aufgeben | |
| come up Verb | erscheinen | |
| end up Verb | sich herausstellen, am Ende irgendwo / etwas sein | |
| find out Verb | herausfinden, erfahren | |
| open up Verb | öffnen | |
| set out Verb | /ˈsɛt‿aʊt/ | sich aufmachen |
Aussprache, auf die du achten solltest
Der Sprecher verwendet 18 Kurzformen und abgeschwächte Formen, zum Beispiel we're, they're, we'll. Sprich sie in der kurzen Form, so wie du sie hörst.
- Die „th“-Laute: wealthy /ˈwɛl.θi/, northeast /noːˈθɪjst/
- Die Laute „sh“ und „zh“: fellowship /ˈfɛl.ə.ʃɪp/, essentially /ɪˈsɛnʃəli/, shortly /ˈʃɔɹtli/, evolution /ˌiːvəˈluːʃ(ə)n/, contrast /kənˈt(ʃ)ɹæst/
- Lange Wörter – auf die Betonung achten: architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, horizontal /ˌhoɹəˈzɑn.təl/, essentially /ɪˈsɛnʃəli/, affordable /əˈfɔɹ.də.bəl/, architectural /ˌɑɹkɪˈtɛkt͡ʃəɹəl/
So übst du mit diesem Video
- Höre dir das ganze Video einmal an, ohne zu sprechen, und notiere die Wörter, die du nicht kennst.
- Beginne mit 0,75-facher Geschwindigkeit, sprich Satz für Satz nach und wechsle zur normalen Geschwindigkeit, sobald es leichtfällt.
- Nimm dich auf und vergleiche mit dem Original; achte dabei auf Wörter wie architecture, prairie, architect.
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 | was born · were built · was known |
| Relativsätze who / which + Satz – eine Zusatzinformation über eine Person oder Sache | does, which is · Miniatura, which is · friend who was |
| Present Perfect have/has + Partizip Perfekt – eine vergangene Handlung, die jetzt noch wichtig ist | has just come · have visited · we've left |
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.