Pratique du Shadowing: Inside The Home Frank Lloyd Wright Designed For His Son | Unique Spaces | Architectural Digest - Apprendre l'anglais à l'oral avec la vidéo
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159 phrases
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When your father is the most celebrated architect in America, the greatest gift he can give you is a house.
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Frank Lloyd Wright designed this house for his son David and daughter-in-law Gladys, using many of the same ideas that he was building into the Guggenheim Museum.
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Spirals are fascinating forms.
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They can symbolize the infinite or longevity.
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David and Gladys Wright, they both lived to be more than 100 years old.
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At the David and Gladys Wright house, the spiral really takes on a unique sense of longevity as it moves from one generation father to the next generation son,
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and even today as it moves between father and daughter working on this restoration.
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Located in the Arcadia neighborhood of Phoenix, Arizona, this neighborhood was once filled with orange groves.
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Today, it's a residential neighborhood.
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It's a special place.
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It's unlike anything else that Frank Lloyd Wright did in the course of his career, and we're so excited to show it to you.
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The entry to this house really begins here.
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at the bottom of a spiral ramp.
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Wright began exploring spiral forms along with all the other elementary geometries
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that were part of his body of work in the 1920s.
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This is long before we came up with ways to curve glass and curve woodwork in a way that was structurally sustainable.
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And so what we see is this combination of polygon forms, triangular ends for the wood framework, for the windows, and even for the roof,
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set above the circular surfaces of the building itself.
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It's this interesting juxtaposition of forms that's really a signature of Frank Lloyd Wright's body of work.
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This whole experience coming up the ramp, it's this little journey that Wright's taking you on.
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The movement through space is something that Wright calls the continual becoming this idea that space is constantly unfolding and revealing itself.
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And you really see that as you climb up the ramp and come up here to the entry.
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Now that we're at the top of the ramp, we see this beautiful landscape.
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We're out in this bright sun and Wright wants to create a juxtaposition.
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So he's going to take us in under a low ceiling and sort of a shaded darkened space.
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Right has this technique that he calls compression and release.
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Being enveloping darker space and then opening up into a lighter, brighter, more expansive space.
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This is very similar to taking a walk through nature where you might be walking on a forest path.
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Nature is embracing you and then suddenly you're in a clearing or you're open to the sky.
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There's bright light all around you.
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It is an emotional journey that we take.
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Much of the work on this house, the delineation, the renderings, and the design of the rug, were done by a Wright apprentice from China named Ling Po.
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Ling came over from China in the 1940s and worked with Wright
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and worked at the foundation for many decades after Wright died in 1959.
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The furniture is made of plywood, really humble material.
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But in the mid-century, Wright gravitated to this material.
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If you look at the edge detail, what you see are the different layers of the plywood.
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And instead of covering that up like most people would, Wright exposes it and celebrates it.
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He wants you to see not only how the furniture is made, but indeed that the wood itself, like the cement blocks from which the house is constructed,
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could actually be quite beautiful.
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Even these tables themselves have this unusual feature, a little hole down the center for this beautiful circular globe.
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So again, the circle, the sphere, the sense of festivity is always part of every element of design of this house.
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This fireplace, beautiful cylinder tapering in.
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In fact, this is the continuity from one of the piers below, tapering upward from the ground all the way up, past the roof and into the chimney.
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But a beautiful circular fireplace, a beautiful fireplace grate, that again reflects the circles, patterns of this house.
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There's another important sense of intergenerational continuity that's reflected in this house.
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Frank Lloyd Wright designs this house for his son David and David's family.
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Today the current owners are Bing Hu, who has brought his daughter, a newly minted architect, into the restoration of this house.
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I come to the U.S for the first time to study architecture.
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And then a year later, I went back to China to get my wife.
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From there, our community also, my family grown, so we have our first daughter.
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And then later on we had two more daughters.
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It was only natural for me to want to study architecture.
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As soon as I told my dad that, I was expecting him to be so excited.
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But he said, don't do architecture.
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It's a hard life.
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But of course, as his daughter, I don't listen to him.
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So I did exactly the opposite of that, and I studied architecture.
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On this property, Dave Gladys Red House come to my attention.
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A spec builder bought the property from the family with the intention to demolish the house and create the two spec houses.
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So the first I learned that is like, we got to rescue this.
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My dad called me and asked me
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if I would consider leaving my job to come work with him to restore the David and Gladys Wright house.
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It means a lot for my parents to come as Chinese immigrants and sort of be here preserving the legacy
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of American architecture as well.
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This ceiling is constructed of Philippine mahogany.
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It's a wood species that you can't get today.
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Unfortunately, because the roof leaked into this room for many years, this mahogany ceiling became stained.
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And because you can't get this wood anymore, cleaning and removing that staining is a meticulous craft.
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If any board gets destroyed, you actually have to replace the whole ceiling and indeed all the wood in the house because it's all one species.
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So one of the things that I love about this restoration is the very careful attention to detail.
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Because the house hasn't been properly maintained, especially the most beautiful wood you can see,
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if you see before, it was night and day difference.
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When we started to dig to uncover it, there were like three or four layers of spray foam insulation up there.
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Anytime there was a big storm, I think the owners were just like, go spray up another layer and hopefully it'll do it this time.
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Embarking on this journey kind of felt like we were able to uncover history of the past that wasn't written.
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Beyond the look of the ceiling, it also has a really interesting function.
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Wright loved to connect interiors and exteriors.
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We have a piano here in the room.
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Wright loved the piano.
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Everybody in his family was musical music was something that they gravitated to.
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Well, how do you get your musical performances outdoors?
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You create a ceiling that will reflect the sound out through these doors
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and down into the courtyard where you might be gathering for a party or just relaxing on a Sunday afternoon.
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Wright had learned about acoustics in his first apprenticeship in Chicago with Dank Maher Adler, one of the great acousticians in American architectural history.
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And he brought that into his practice and used it everywhere, but seldom with such dramatic effect as you see in this house.
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We've already experienced compression and release in the entryway into the living room.
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And now we're going to go through another somewhat compressed space, which is this hallway that takes us from the central living space to the primary bedroom of the house.
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Another sense of release after the compressed space of the hallway.
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And once again, we have an emotional journey.
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You also have this beautiful built-in banquette.
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You'll notice that there's some storage underneath it.
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No wasted space in a Frank Lloyd Wright house.
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This is important.
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Wright often designs rooms so that they have a different emotional impact
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and a different sense of space when you're standing or when you're sitting.
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And when you sit in here, the views will be very different.
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It may be hard to tell, but we could actually start in one of those carports and make a continuous spiral up the ramp,
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through the entry, through the living room,
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down the hallway, and into this bedroom without ever breaking that continuous curve.
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Let's go see the other room that people are always curious about.
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What we would call the kitchen, but what Frank Lloyd Wright called the workspace.
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So we're going to take this journey back through the hallway.
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Once again, we have the sense of surprise.
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Space is unfolding.
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And even though we've been here before and we know what's expected, it's still the sense of seeing this room differently.
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As we come to the workspace, I want you to first notice something special.
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We have this cone that's tapering.
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How do you have a door?
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Well, you cut the door to meet the building.
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Again, this wonderful little gesture, but Wright has thought of everything.
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Wright doesn't refer to these spaces as kitchens.
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These are spaces where you do your work to prepare for your guests.
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It's not what kitchens of today that become social spaces, but truly a space that's just designed for the work, and in this case also a little table for the family.
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And a little trapezoidal trash can that fits perfectly into that space.
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It's one of those features that just delights people when they visit the house.
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You also see this angled line, this ramp that takes us to the roof.
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He's actually revealing the structure of the building in this space, that there's this continuity that's provided.
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Up here on the rooftop terrace, we can really see Wright's intention, how he connects the building with the landscape.
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Out to our southeast, we see the Papago Buttes.
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Behind me in the other direction, the head of the camel, off Camelback Mountain.
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By firmly centering this building between these two landmarks that nature provided,
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Wright gives us the sense of being part of this world and not merely on it, but at one with it.
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You'll notice that we're actually walking under the house because the house is elevated.
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This courtyard is an outdoor room, but it wasn't just a room to gather in, maybe have a picnic in.
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It also originally had a pool.
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Also because the pool itself being constructed out of concrete block slowly over time begins to disintegrate.
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Something that Wright didn't anticipate when he built the house.
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So today we just have the memory of the pool reflected here.
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When you stand in the middle of this courtyard on this central paver, you can hear sound reverberating from all around you.
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It's a space that will capture what we hear from inside the house to give you the sense that you're not outdoors, but really you're just in another room of the house.
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David Wright worked for the Besser Manufacturing Company, and they made concrete block molds.
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And so David insisted that his company's molds and concrete block be used for the construction and design of this house.
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And for Wright, concrete block wasn't simply an industrial material.
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He saw it as elevated, and this particular block I think he really enjoyed.
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And so you'll see that at the end of wherever there was a concrete slab, he included this decorative block with a circular motif and then this piece coming out of it.
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It also shows something that Wright really enjoyed about working with concrete, which which is called in architecture terms plasticity, meaning that it's moldable.
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You'd think that when your father is the architect, building this house would be easy.
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But it wasn't.
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All the usual challenges between architect and client showed up.
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Everything from budget to not having the right foreman.
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In fact, at one point David writes his father and asks for some changes and says, Dad, can the house be only 90% Frank Lloyd Wright and 10% David and Gladys Wright?
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And Wright said, you're making your poor old father tired, but accommodated his son's wishes.
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At the end of the day, what we see in between them is the exchange of gifts reflected in correspondence.
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It's been a really interesting experience.
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and cherished experience too, working with my dad.
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I feel like I've learned so much about him
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and it's explained just seeing him at work and how he makes his decisions.
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Even today, I was thinking about, I'm so annoyed that my dad is getting these window washers to come the same day we're filming this video.
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And I realized he did that because it's the desert, so if we did this two days in advance, they would have been completely covered in dust.
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So little things like that have shown me that my dad is really the smartest person I know.
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I saw someone come here.
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I really want to work in the skyscrapers, you know, in New York City, in LA, in Chicago, working for a big architect.
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So after the years, I think that this is my destiny.
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The plan for the future of this property, I want to become my architecture design studio.
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I can open my door to let my client come.
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So that's kind of indirect way to welcome the public to able to see this masterpiece.
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I feel really lucky that we have a place like this home to come back to
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and we'll get to enjoy it for many generations to come.
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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 « Inside The Home Frank Lloyd Wright Designed For His Son ». Les mots qui reviennent le plus souvent : Wright, space, David, sense. Cette vidéo contient 159 phrases et 2291 mots à répéter en shadowing. La partie parlée dure 15:14. Le locuteur parle à un rythme naturel d’environ 150 mots par minute, proche d’une conversation courante. 82 % 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 |
|---|---|---|
| ceiling nom | /ˈsilɪŋ/ | plafond |
| spiral nom | /ˈspaɪɹəl/ | spirale |
| architect nom | /ˈɑɹ.kɪˌtɛkt/ | architecte |
| circular adjectif | /ˈsɜɹ.kjə.ləɹ/ | circulaire |
| taper verbe | /ˈteɪpɚ/ | rétrécir |
| fireplace nom | /ˈfaɪɹpleɪs/ | âtre, foyer |
| courtyard nom | /ˈkɔɹt.jɑɹd/ | cour |
| continuity nom | /ˌkɑn.tɪˈn(j)u.ə.ti/ | continuité |
| construct verbe | /ˈkɑn.stɹʌkt/ | construire |
| restoration nom | /ɹɛstəˈɹeɪʃən/ | restauration |
| curve nom | /kɚv/ | courbe |
| compress verbe | /ˈkɑmpɹɛs/ | comprimer |
| elevate verbe | /ˈɛləveɪt/ | élever |
| juxtaposition nom | /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/ | juxtaposition |
| mahogany nom | /məˈhɑɡəni/ | acajou, mahagoni |
Les verbes à particule que vous entendrez
| Mot | Sens |
|---|---|
| come up verbe | se montrer, sortir du bois |
| come up with verbe | inventer, imaginer |
| go through verbe | traverser |
| show up verbe | apparaître, se montrer se pointer |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- There's bright light all around you.
- It's a wood species that you can't get today.
- You'll notice that there's some storage underneath it.
- We have this cone that's tapering.
- How do you have a door?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | has brought · hasn't been · We've already experienced |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | were done · is made · is constructed |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | space, which is · which which is |
Prononciation à surveiller
Le locuteur utilise 35 contractions et formes réduites, comme we're, you're, wasn't. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: underneath /ˌʌndɚˈniθ/, southeast /sawˈθɪjst/
- Les sons « sh » et « zh »: restoration /ɹɛstəˈɹeɪʃən/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, compression /kəmˈpɹɛʃ.ən/, speculation /ˌspɛk.jəˈleɪ.ʃən/, apprenticeship /əˈpɹɛn.tɪs.ʃɪp/
- Mots longs — placez bien l’accent: continuity /ˌkɑn.tɪˈn(j)u.ə.ti/, restoration /ɹɛstəˈɹeɪʃən/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, mahogany /məˈhɑɡəni/, longevity /lɒnˈd͡ʒɛv.ɪ.ti/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: hallway /ˈhɔlˌweɪ/, mahogany /məˈhɑɡəni/, humble /ˈhʌmbəl/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, longevity /lɒnˈd͡ʒɛv.ɪ.ti/, cherish /ˈt͡ʃɛɹɪʃ/, chimney /ˈt͡ʃɪmni/, geometry /d͡ʒiˈɑ.mə.tɹi/
- /r/ anglais — langue recourbée, sans frotter la gorge: spiral /ˈspaɪɹəl/, architect /ˈɑɹ.kɪˌtɛkt/, circular /ˈsɜɹ.kjə.ləɹ/, fireplace /ˈfaɪɹpleɪs/, 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.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme ceiling, spiral, architect.
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.