Pratique du Shadowing: Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home (Design Masterclass) - Apprendre l'anglais à l'oral avec la vidéo
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110 phrases
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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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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau B2 s’appuie sur la vidéo « Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home ». Les mots qui reviennent le plus souvent : space, landscape, bedroom. Cette vidéo contient 110 phrases et 1512 mots à répéter en shadowing. La partie parlée dure 12:03. Le locuteur parle à un rythme régulier d’environ 125 mots par minute, confortable pour le shadowing. 85 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| circulation nom | /ˌsɝkjʊˈleɪʃən/ | circulation |
| proportion nom | /pɹəˈpɔɹʃən/ | proportion |
| dine verbe | /daɪn/ | dîner |
| negotiable adjectif | /nɪˈɡoʊʃəbəl/ | négociable |
| induce verbe | /ɪnˈduːs/ | induire |
| quarry nom | /ˈk(w)ɔɹ.i/ | carrière |
| intimacy nom | /ˈɪn.tɪ.mə.si/ | intimité |
| driveway nom | /ˈdɹaɪvˌweɪ/ | allée, sortie de véhicules |
| courtyard nom | /ˈkɔɹt.jɑɹd/ | cour |
| abrupt adjectif | /əˈbɹʌpt/ | brusque, precipité |
| contour nom | /ˈkɒntɔː/ | contour |
| counterpoint nom | /ˈkaʊntə(ɹ)ˌpɔɪnt/ | contrepoint |
| discretionary adjectif | /dɪsˈkɹɛʃəˌnɛɹi/ | discrétionnaire |
| expansive adjectif | /ɪkˈspænsɪv/ | expansible |
| facade nom | /fəˈsɑ(ː)d/ | façade |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| figure out verbe | cerner | |
| go up verbe | monter, s'élever | |
| come together verbe | /ˈkʌm tʊˈɡɛðɚ/ | affluer, s’assembler |
| find out verbe | découvrir, savoir | |
| pass through verbe | traverser | |
| turn off verbe | éteindre |
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | are arranged · can be hidden · is foreshortened |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | man who was · courtyard which is · things which are |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | we've constructed · you've enjoyed |
Prononciation à surveiller
Le locuteur utilise 17 contractions et formes réduites, comme we're, you're, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « sh » et « zh »: circulation /ˌsɝkjʊˈleɪʃən/, proportion /pɹəˈpɔɹʃən/, negotiable /nɪˈɡoʊʃəbəl/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, mirage /mɪˈɹɑːʒ/
- Mots longs — placez bien l’accent: circulation /ˌsɝkjʊˈleɪʃən/, negotiable /nɪˈɡoʊʃəbəl/, intimacy /ˈɪn.tɪ.mə.si/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, expedience /ɛkˈspiː.dɪ.əns/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: hallway /ˈhɔlˌweɪ/, horizontal /ˌhoɹəˈzɑn.təl/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: generosity /ˌd͡ʒɛn.əˈɹɑ.sə.ti/, arrange /əˈɹeɪnd͡ʒ/, generous /ˈd͡ʒɛn(ə)ɹəs/
- /r/ anglais — langue recourbée, sans frotter la gorge: congregate /ˈkɒŋɡɹəɡeɪt/, proportion /pɹəˈpɔɹʃən/, quarry /ˈk(w)ɔɹ.i/, driveway /ˈdɹaɪvˌweɪ/, courtyard /ˈkɔɹt.jɑɹd/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Répétez phrase par phrase à vitesse normale, en reprenant chacune jusqu’à ce que votre rythme corresponde à celui du locuteur.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme circulation, proportion, dine.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.