Pratique du Shadowing: Inside An Experimental Off-Grid Modern Cabin | Unique Spaces | Architectural Digest - Apprendre l'anglais à l'oral avec la vidéo
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150 phrases
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We created a manifesto to study architecture freed from the purely objective, right?
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No bedrooms, no doors.
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From origins of architecture we explore in.
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That is that the interior is more important than the exterior.
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This is what we live in.
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I'm Stephen Hall, architect, and we're here at the Exum Inn House in Reinbeck.
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And I'm Dimitra Tsachrelia, an architect as well, who contributed to the design of this house.
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This project started really as research, a kind of experimental project in our studio.
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So we started with Peter Slaughter Dyke's trilogy about spheres, his three volumes.
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We wanted to work with the ideas that he was working with.
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You're born in a sphere, the uterus.
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You come out into the sphere of your family you inhabit it,
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the globe, and then there's a kind of idea of the foam of the universe and the political foam of reality.
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What we did was we made a bunch of drawings
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and made models where we had a trapezoidal volume and it was being intersected by spheres.
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And what we were interested in was the interior.
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And we called the project Explorations of N, X of N.
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And that's how this house got its name, because it came out of these models and these drawings.
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We worked on the design longer than it took to build it.
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Yeah.
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We began to work it from the inside out.
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And you will notice that this house has no bedrooms, zero bedrooms, but it sleeps five.
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Every space is connected.
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One leads you to another and as you come into this space you realize
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that the whole thing opens up and turns around you as you walk around it.
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That's the sunrise sphere intersecting and that becomes the entranceway.
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This is the sphere overhead which cuts the building in this direction
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and this is the western sphere which is a virtual sphere.
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So this is the entrance of the house.
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This sphere that we just entered in is facing east
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and you can see that the whole materiality is made out of wood
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and all the details you see are built in and designed from us to fit in that concept and in this space.
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The space out of this first sphere opens out into the living room, into the kind of main space,
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and you kind of slightly go down and the space opens up in a kind of generous height.
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It's a very small footprint, it's only 980 square foot, but because of the kind of volume of space, you have a more generous experience.
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And then the living room is also built in, the space kind of slightly goes down to form the kitchen area.
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Living happens between those two different planes.
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The furniture is mid -century furniture,
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otherwise it is designed by Stephen Hall and you can see the the materiality.
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The stair is crafted out of mahogany, there is solid wood everywhere that you see the frames of the windows and doors custom -made.
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Even the carpet is a Stephen Hall carpet.
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The kitchen steps down as it follows the topography outside
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and the rest of the side stepping down
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and there is a cross breeze coming from those two doors
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that open up and you see the bottom of the sphere you realize you're underneath
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that space that opens up
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and looking out to it you see the sun in the night
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it brings light down from the space above from here you can open out into the garden and you can
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We sit outdoors, so the inside outside works here beautifully.
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The furniture is designed by Stephen, very simple.
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We call this the A -chair.
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And the kitchen is also all made out of wood.
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Every cut in the space has to do not only with the natural daylight that comes in during the day,
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but also with the way the night experience works.
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We respect the experience of the darkness, the subtlety of dimness of the light.
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So all of these windows and cuts towards the interior become spaces where one room illuminates the other.
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One space brings light into the next.
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And it opens up, of course, into the big sphere in front of us on the west
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that brings the last light of the day in as the sun sets.
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This space faces to the west on the Hudson River
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and you can actually sit here and and relax and contemplate and look out into the forest and down into the kitchen.
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And that's a kind of connection space as well.
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The light fixtures are actually part of the concept models that initiated the design of this house.
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This is actually the west cut.
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This window is right in here.
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So if you invert the spheres, you get the negative space, which is the house itself.
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So this conceptual model we like to explore in all different scales and make it part of the experience of the house.
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These light fixtures are printed out of corn -based bioplastic that's a 3D printing material.
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The geometry forms this kind of cut out that provides privacy for the bed next to the window with a natural ventilation.
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This piece of the bathtub was crafted by Javier Gomez,
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our contractor, so all the details that you see are handcrafted and the whole house is made like a piece of furniture.
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It's made like the interior of a guitar or a piece of instrument
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and it's crafted with lots of care for every detail.
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And here is a very exciting space as you go up over the sphere
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that we entered the house
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and this space is meant to be a kind of raw space where you see the structure of the sphere, you see the ribs
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that they had to cut to form the interior where they shaped the wood in this kind of curved layers
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and that's also a very exciting spot as you come up
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and you have this nook that's very private
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and then also you can look down and the entire space opens up
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and kind of big surprise i think as you really are up against the ceiling
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and the space slopes down into the open living room that's really a space of compression and decompression and looking out
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Water is life.
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This water pond literally brought life onto the site as we position it to the south.
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And not only does it activate and illuminate the interior with water reflecting through into the interior,
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but it also, with the water lilies that we brought into this pond, brought the frogs in and the turtles.
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And they are really a beautiful company to have in this surrounding.
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We want it to be as ecological as possible.
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It has closed cell insulation.
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This is all natural wood, no finishes, no sort of toxic materials at all.
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Even the wooden windows are solid mahogany cut and without any finish on them.
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That's a natural pine board floor and it has a geothermal heating and cooling system.
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And that works perfectly in the wintertime.
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It can be zero degrees outside.
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It's 70 in here with the radiant floor.
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And in the summertime, we're using that same 51 degrees that's 300 feet below the surface of the earth and cooling it.
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The water here is natural well water.
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We get eight gallons per minute at 300 feet, and it's pure water.
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It's very pure, so there's no chlorine in it.
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And even the facade is weighed out of a special staco that's called poraver.
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And that was an experimental application.
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This material is made out of 100 % recycled glass, and it's very lightweight and porous.
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So the concept of the sphere
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that goes into all the different scales of the kind of human experience comes down to those tiny little one millimeter.
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So no fossil fuels, geothermal heating and cooling, organic materials, preserve the natural landscape, 30 acres of preservation.
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You know, I just saw a wild fox the other day running, an orange wild fox.
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There's a pond with frogs and turtles.
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They eat the mosquitoes.
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You can have water that comes off of your roof, collect all your rainwater, but if you make it ecological, that is turtles and frogs,
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you don't have any mosquitoes.
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The most important thing is nature.
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Preserve what's here and allow for the wildlife to exist around the house.
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So when you come and look out the windows, you see you're surrounded by animals and the sound of the frogs and the turtles passing.
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The way to make this abstract thinking of the sphere into a site -specific project is how to orient it
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so that the light comes in and works within the space in these different times of the day.
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The way this roof is sloping to the south made a perfect place for the solar panels to come on
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and all these different adjustments that happened once you know this is a location
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and the passive aspect in terms of the energy use, the way it's isolated and works.
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with natural ventilation has also to do specifically with this location.
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So this is the future, right?
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We're living at a time, in a place.
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Different places in the world have different conditions of right now.
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And we're lucky to be in the Hudson Valley.
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It gets cold, it snows, but that's part of the excitement.
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Big, nice snow, you know, outside moonlight reflecting on snow coming in through these round windows.
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Gorgeous, absolute silence, stars in the sky and then autumn.
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This is all orange and yellow and red out here like
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New England is.
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I grew up in Seattle and the trees just don't turn, you know, kind of a pale yellow.
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Here you get bright orange and red and yellow and some green mixed in.
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So it's like living in a painting in fall.
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We've entered a new phase in humanity where we actually understand the brain in ways we never understood it before.
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There was that old adage that Winston Churchill said, first we shape our buildings and then they shape us, right?
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Well, that was 1944.
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This now we know is somewhat true.
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So in a certain sense, we passed into a new phase of understanding the importance of architecture.
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Light, space, volume is very important to human existence, to psychology.
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There's a kind of winter sickness where there's not enough light in a space.
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But now we also understand the daylight and the way the seasonal light works on your body and your psyche,
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through your brain, is something that architecture can contribute to health.
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The first thing we did is we commissioned the great poet Robert Kelly to write a poem about this property.
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and he spent two months working on this poem, Phases of the Earth.
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Where he says, so poetry and music make time pass and architecture makes space pass into meaningful form.
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No, I mean architecture makes music stand still.
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That's more like it.
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Here, time turns into space.
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That's one of my favorite moments of that.
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What is time?
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What is space? how can poetry and art and architecture connect?
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How do they connect?
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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale s’appuie sur la vidéo « Inside An Experimental Off-Grid Modern Cabin ». Les mots qui reviennent le plus souvent : space, sphere, architecture, interior, window. Cette vidéo contient 150 phrases et 1870 mots à répéter en shadowing. La partie parlée dure 12:35. Le locuteur parle à un rythme régulier d’environ 149 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
15 mots de la vidéo à retenir, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| sphere nom | /sfɪɚ/ | sphère, boule |
| architecture nom | /ˈɑː.kɪˌtɛk.t͡ʃə/ | architecture |
| furniture nom | /ˈfɝ.nɪ.t͡ʃɚ/ | mobilier, meubles |
| turtle nom | /ˈtɝtl̩/ | tortue |
| bedroom nom | /ˈbɛdˌɹum/ | chambre, chambre à coucher |
| connect verbe | /kəˈnɛkt/ | accoupler, connecter |
| craft nom | /ˈkɹæft/ | ruse |
| pond nom | /pɑnd/ | étang, mare |
| poetry nom | /ˈpoʊ.ə.tɹi/ | poésie |
| reflect verbe | /ɹɪˈflɛkt/ | refléter, réfléchir |
| contribute verbe | /kənˈtɹɪb.jut/ | contribuer |
| explore verbe | /ɪkˈsploɹ/ | explorer |
| psychology nom | /saɪˈkɑ.lə.d͡ʒi/ | psychologie |
| experimental adjectif | /ɪkspɛɹəˈmɛntəl/ | expérimental |
| poem nom | /ˈpoʊ.əm/ | poème |
Les verbes à particule que vous entendrez
| Mot | Sens |
|---|---|
| open up verbe | ouvrir |
| look out verbe | prendre garde |
| step down verbe | démissionner, se retirer |
| come up verbe | se montrer, sortir du bois |
| cut out verbe | arrêter de |
| go down verbe | descendre |
| turn around verbe | retourner |
| walk around verbe | déambuler |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- You're born in a sphere, the uterus.
- We're living at a time, in a place.
- That's one of my favorite moments of that.
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 | being intersected · is connected · is made |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | has closed · We've entered |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | sphere which is · space, which is |
Prononciation à surveiller
Le locuteur utilise 12 contractions et formes réduites, comme we're, you're, don't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: underneath /ˌʌndɚˈniθ/, bathtub /ˈbæθtʌb/
- Les sons « sh » et « zh »: ventilation /ˌvɛntɪˈleɪʃ(ə)n/, preservation /ˌpɹɛz.əˈveɪ.ʃən/, compression /kəmˈpɹɛʃ.ən/, initiate /ɪˈnɪʃ.i.eɪt/, insulation /ˌɪnsəˈleɪʃən/
- Mots longs — placez bien l’accent: architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, psychology /saɪˈkɑ.lə.d͡ʒi/, experimental /ɪkspɛɹəˈmɛntəl/, ecological /ˌiːkəˈlɒd͡ʒɪkl̩/, ventilation /ˌvɛntɪˈleɪʃ(ə)n/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: humanity /hjuˈmænɪti/, overhead /ˈəʊvəˌhɛd/, mahogany /məˈhɑɡəni/, inhabit /ɪnˈhæbɪt/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, furniture /ˈfɝ.nɪ.t͡ʃɚ/, psychology /saɪˈkɑ.lə.d͡ʒi/, generous /ˈd͡ʒɛn(ə)ɹəs/, ecological /ˌiːkəˈlɒd͡ʒɪkl̩/
- /r/ anglais — langue recourbée, sans frotter la gorge: bedroom /ˈbɛdˌɹum/, craft /ˈkɹæft/, poetry /ˈpoʊ.ə.tɹi/, reflect /ɹɪˈflɛkt/, contribute /kənˈtɹɪb.jut/
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 sphere, architecture, furniture.
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.