Pratique du Shadowing: Cambridge 11 Test 2 Section 4 Listening - Apprendre l'anglais à l'oral avec la vidéo

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Section 4 You will hear part of a lecture to students of architecture about the design of a public building.

First, you have some time to look at questions 31 to 40.

Thank you.

Transcription by CastingWords

we've been discussing the factors the architect has to consider

when designing domestic buildings i'm going to move on now to consider the design of public buildings

and i'll illustrate this by referring to the new taylor concert hall that's recently been completed here in the city

So, as with a domestic building, when designing a public building,

an architect needs to consider the function of the building.

For example, is it to be used primarily for entertainment or for education or for administration?

The second thing the architect needs to think about is the context of the building.

This includes its physical location, obviously, but it also includes the social meaning of the building,

how it relates to the people it's built for.

And finally, for important public buildings, the architect may also be looking for a central symbolic idea on which to base the design,

a sort of metaphor for the building and the way in which it is used.

Let's look at the new Taylor Concert Hall in relation to these ideas.

The location chosen was a site in a run -down district that has been ignored in previous redevelopment plans.

It was occupied by a factory that has been empty for some years.

The whole area was some distance from the high -rise office blocks of the central business district and shopping centre,

but it was only one kilometre from the ring road.

The site itself was bordered to the north by a canal,

which had once been used by boats bringing in raw materials when the area was used for manufacturing.

The architect chosen for the project was Tom Harrison.

He found the main design challenge was the location of the site, in an area that had no neighbouring buildings of any importance.

To reflect the fact that the significance of the building in this quite run -down location was as yet unknown,

he decided to create a building centred around the idea of a mystery, something whose meaning still has to be discovered.

So how was this reflected in the design of the building?

Well, Harrison decided to create pedestrian access to the building and to make use of the presence of water on the site.

As people approach the entrance, they therefore have to cross over a bridge.

He wanted to give people a feeling of suspense as they see the building first from a distance and then close up,

and the initial impression he wanted to create from the shape of the building as a whole was that of a box.

The first side that people see, the southern wall, is just a high flat wall uninterrupted by any windows.

This might sound off -putting, but it supports Harrison's concept of the building,

that the person approaching is intrigued and wonders what will be inside.

And this flat wall also has another purpose.

At night time, projectors are switched on and it functions as a huge screen onto which images are projected.

The auditorium itself seats 1 ,500 people, the floors supported by 10 massive pads.

These are constructed from rubber and so are able to absorb any vibrations from outside and prevent them from affecting the auditorium.

The walls are made of several layers of honey -coloured wood, all sourced from local beech trees.

In order to improve the acoustic properties of the auditorium and to amplify the sound, They are not straight, they are curved.

The acoustics are also adjustable, according to the size of orchestra and the type of music being played.

In order to achieve this, there are nine movable panels in the ceiling above the orchestra, which are all individually motorised.

And the walls also have curtains, which can be opened or closed to change the acoustics.

The reaction of the public to the new building has generally been positive.

However, the evaluation of some critics has been less enthusiastic.

In spite of Harrison's efforts to use local materials, they criticise the style of the design as being international rather than local,

and say it doesn't reflect features of the landscape or society for which it is built.

That is the end of Section 4.

You now have half a minute to check your answers.

That is the end of the listening test.

You now have ten minutes to transfer your answers to the answer sheet.

Please stop writing and wait for your question booklet to be collected.

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Cambridge 11 Test 3 Section 4 Listening

Vocabulaire et conseils d’expression pour cette leçon

Cette leçon d’expression orale s’appuie sur la vidéo « Cambridge 11 Test 2 Section 4 Listening ». Les mots qui reviennent le plus souvent : design, architect, wall, location, site. Cette vidéo contient 52 phrases et 771 mots à répéter en shadowing. La partie parlée dure 7:22. Le locuteur parle lentement, environ 105 mots par minute, ce qui laisse le temps d’imiter chaque son. 86 % 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

15 mots de la vidéo à retenir, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
architect nom	/ˈɑɹ.kɪˌtɛkt/	architecte
reflect verbe	/ɹɪˈflɛkt/	refléter, réfléchir
acoustic adjectif	/əˈkuː.stɪk/	acoustique
auditorium nom	/ˌɔ.dɪˌto.ɹi.əm/	amphi
orchestra nom	/ˈɔː.kɪs.tɹə/	orchestre
ignore verbe	/ɪɡˈnɔː/	ignorer, ne pas prêter attention à
primarily adverbe	/ˈpɹaɪ.mə.ɹə.li/	principalement, essentiellement
mystery nom	/ˈmɪs.t(ə.)ɹi/	mystère
refer verbe	/ɹɪˈfɜː/	référer
architecture nom	/ˈɑː.kɪˌtɛk.t͡ʃə/	architecture
layer nom	/ˈleɪ̯ɚ/	couche
sheet nom	/ʃit/	feuille
discover verbe	/dɪˈskʌvə/	découvrir
entrance nom	/ˈɛn.tɹəns/	entrée
collect verbe	/ˈkɑlɪkt/	rassembler, recueillir

Les verbes à particule que vous entendrez

Mot	Sens
run down verbe	heurter

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	been completed · be used · is used
Present perfect have/has + participe passé — une action passée qui compte encore maintenant	that's recently been completed · has been ignored · has been
Propositions relatives who / which + proposition — une précision sur une personne ou une chose	orchestra, which are · curtains, which can
Possibilité avec « might / may » might/may + verbe — quelque chose de possible mais pas certain	may also be · might sound

Prononciation à surveiller

Le locuteur utilise 4 contractions et formes réduites, comme doesn't, I'll, I'm. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « sh » et « zh »: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
Mots longs — placez bien l’accent: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/

Les sons difficiles pour les francophones :

/tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, lecture /ˈlɛk.t͡ʃə/, individually /ˌɪndɪˈvɪd͡ʒ(u)əli/, adjustable /əˈd͡ʒʌstəbəl/, beech /ˈbiːt͡ʃ/
/r/ anglais — langue recourbée, sans frotter la gorge: architect /ˈɑɹ.kɪˌtɛkt/, reflect /ɹɪˈflɛkt/, auditorium /ˌɔ.dɪˌto.ɹi.əm/, orchestra /ˈɔː.kɪs.tɹə/, primarily /ˈpɹaɪ.mə.ɹə.li/

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 architect, reflect, acoustic.

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.

Technique du shadowing : lire le guide complet étape par étape →

Pratique du Shadowing: Cambridge 11 Test 2 Section 4 Listening - Apprendre l'anglais à l'oral avec la vidéo

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