シャドーイング練習: Inside The Home Frank Lloyd Wright Designed For His Son | Unique Spaces | Architectural Digest - 動画で英語スピーキングを学ぶ
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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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フランク・ロイド・ライトの息子に贈った家の物語
このビデオでは、アメリカの有名建築家フランク・ロイド・ライトが息子夫婦のために設計した家について語られています。ファンホイム美術館にも使われた螺旋のデザインや、自然との調和、代々続く伝統など、建築の魅力だけでなく、人間の絆も描かれています。英語スピーキング練習には、こうしたリアルな物語を聞きながらシャドーイングするのが効果的です。
役立つフレーズとコロケーション
- compression and release：圧縮と解放（空間の移り変わりを表す建築用語で、日常生活でも「緊張と解放」のような意味で使えます）
- continual becoming：継続的な生成（空間が次々と展開される様子を表し、変化するものごとを形容するのに便利です）
- intergenerational continuity：世代間の継続性（家族や伝統の受け継ぎを話す時に必ず使えるフレーズです）
- humble material：質素な素材（安くて一般的な材料を指し、「安物だが使い道のあるもの」を表すのに適しています）
シャドーイングチャレンジ！
まず、ビデオを1分程度聞き、「compression and release」や「intergenerational continuity」などのキーフレーズの発音を覚えましょう。次に、同じ部分を繰り返し聞きながら、1秒遅れで声に出して追ってみてください。これがshadowspeakの基本で、IELTS スピーキング対策にも最適です。特に「the movement through space is something that Wright calls the continual becoming」という文は、リズムがあり、シャドーイングに最適です。シャドーイングサイトを使っても良いですが、まずは自分で繰り返し練習してみましょう。自然な発音とイントネーションを身につけることで、英語スピーキングの自信がつきます！
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | has brought · hasn't been · We've already experienced |
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | were done · is made · is constructed |
| 関係詞節 who / which + 節 — 人や物について情報を加える | space, which is · which which is |
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。