쉐도잉 연습: Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home (Design Masterclass) - 영상으로 영어 말하기 배우기
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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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이 레슨의 어휘와 말하기 포인트
이 B2 수준 말하기 레슨은 영상 “Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home”을(를) 바탕으로 합니다. 가장 자주 반복되는 단어는 다음과 같습니다: space, landscape, bedroom. 이 영상에는 섀도잉할 문장 110개와 단어 1512개가 있습니다. 말하는 구간의 길이는 12:03입니다. 화자는 분당 약 125단어의 일정한 속도로 말해서 섀도잉하기에 편한 속도입니다. 단어의 85%가 영어에서 가장 많이 쓰이는 3,000단어에 속합니다. 나머지는 연습 전에 미리 확인해 두세요.
이 영상의 핵심 어휘
영상에서 가장 어려운 단어 15개를 발음, 뜻과 함께 정리했습니다.
| 단어 | 발음 | 뜻 |
|---|---|---|
| proportion 명사 | /pɹəˈpɔɹʃən/ | 비례 |
| quarry 명사 | /ˈk(w)ɔɹ.i/ | 채석장 |
| intimacy 명사 | /ˈɪn.tɪ.mə.si/ | 친교, 친밀함 |
| courtyard 명사 | /ˈkɔɹt.jɑɹd/ | 안마당, 중정 |
| facade 명사 | /fəˈsɑ(ː)d/ | 정면, 파사드 |
| mirage 명사 | /mɪˈɹɑːʒ/ | 신기루 |
| unfold 동사 | /ʌnˈfoʊld/ | 펴다 |
| weave 동사 | /wiːv/ | 짜다 |
| fireplace 명사 | /ˈfaɪɹpleɪs/ | 벽난로, 난로 |
| procession 명사 | /pɹəˈsɛʃən/ | 행차, 항렬 |
| motel 명사 | /moʊˈtɛl/ | 모텔 |
| generosity 명사 | /ˌd͡ʒɛn.əˈɹɑ.sə.ti/ | 선심 |
| minimize 동사 | /ˈmɪn.ɪˌmaɪz/ | 최소화(最小化)하다 |
| persuade 동사 | /pə(ɹ)ˈsweɪd/ | 설득하다 |
| analyze 동사 | /ˈæn.əˌlaɪz/ | 분석하다 |
영상에 나오는 구동사
| 단어 | 뜻 |
|---|---|
| go up 동사 | 올라가다 |
| turn off 동사 | 끄다, 턴오프하다 |
이 영상의 문법
화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.
| 문형 | 영상 속 표현 |
|---|---|
| 수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점 | are arranged · can be hidden · is foreshortened |
| 관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보 | man who was · courtyard which is · things which are |
| 현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때 | we've constructed · you've enjoyed |
주의할 발음
화자는 we're, you're, don't 같은 축약형과 약화된 형태를 17번 사용합니다. 들리는 대로 짧게 발음하세요.
- “sh”와 “zh” 소리: circulation /ˌsɝkjʊˈleɪʃən/, proportion /pɹəˈpɔɹʃən/, negotiable /nɪˈɡoʊʃəbəl/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, mirage /mɪˈɹɑːʒ/
- 긴 단어 — 강세 위치에 주의: circulation /ˌsɝkjʊˈleɪʃən/, negotiable /nɪˈɡoʊʃəbəl/, intimacy /ˈɪn.tɪ.mə.si/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, expedience /ɛkˈspiː.dɪ.əns/
한국어 화자가 어려워하는 소리:
- /f/ — ㅍ(/p/)으로 바꾸지 말고 윗니를 아랫입술에 대기: choreograph /ˈkɔɹjəɡɹæf/, facade /fəˈsɑ(ː)d/, unfold /ʌnˈfoʊld/, fireplace /ˈfaɪɹpleɪs/, meaningful /ˈmiː.nɪŋ.fl̩/
- /v/ — ㅂ(/b/)과 구별하기: driveway /ˈdɹaɪvˌweɪ/, expansive /ɪkˈspænsɪv/, overdo /ˌoʊvɚˈdu/, perversity /pə(ɹ)ˈvɜː(ɹ)sɪti/, weave /wiːv/
- /z/ — ㅈ이 아니라 성대를 울리는 /s/: tease /tiːz/, indoors /ɪnˈdɔɹz/, minimize /ˈmɪn.ɪˌmaɪz/, analyze /ˈæn.əˌlaɪz/, horizontal /ˌhoɹəˈzɑn.təl/
이 영상으로 연습하는 방법
- 먼저 말하지 않고 영상을 끝까지 듣고 모르는 단어를 적어 둡니다.
- 보통 속도로 한 문장씩 섀도잉하고, 화자의 리듬과 맞을 때까지 반복합니다.
- 자신의 목소리를 녹음해 원본과 비교하고, proportion, quarry, intimacy 같은 단어에 특히 주의합니다.
쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법
쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.