Shadowing Practice: Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home (Design Masterclass) - Learn English Speaking with Video
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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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Woordenschat en spreektips bij deze les
Deze spreekles op niveau B2 is gebaseerd op de video “Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home”. Deze woorden komen het vaakst terug: space, landscape, bedroom. Deze video bevat 110 zinnen en 1512 woorden om na te spreken. Het gesproken deel duurt 12:03. De spreker praat in een gelijkmatig tempo van ongeveer 125 woorden per minuut, prettig om te shadowen. 85% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden; de rest kun je beter vooraf bekijken.
Belangrijke woorden in deze video
De 15 moeilijkste woorden uit de video, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| circulation zelfstandig naamwoord | /ˌsɝkjʊˈleɪʃən/ | omloop |
| dine werkwoord | /daɪn/ | dineren |
| induce werkwoord | /ɪnˈduːs/ | opwekken, veroorzaken |
| quarry zelfstandig naamwoord | /ˈk(w)ɔɹ.i/ | steengroeve |
| intimacy zelfstandig naamwoord | /ˈɪn.tɪ.mə.si/ | intimiteit |
| driveway zelfstandig naamwoord | /ˈdɹaɪvˌweɪ/ | oprit, inrit |
| courtyard zelfstandig naamwoord | /ˈkɔɹt.jɑɹd/ | binnenplaats, hof |
| abrupt bijvoeglijk naamwoord | /əˈbɹʌpt/ | abrupt, plots |
| expansive bijvoeglijk naamwoord | /ɪkˈspænsɪv/ | omvattend |
| expedience zelfstandig naamwoord | /ɛkˈspiː.dɪ.əns/ | haast, spoed |
| facade zelfstandig naamwoord | /fəˈsɑ(ː)d/ | gevel, façade |
| mirage zelfstandig naamwoord | /mɪˈɹɑːʒ/ | luchtspiegeling |
| overdo werkwoord | /ˌoʊvɚˈdu/ | overdrijven |
| precede werkwoord | /pɹɪˈsid/ | voorafgaan, laten voorbijgaan |
| unfold werkwoord | /ʌnˈfoʊld/ | openvouwen, uitspreiden |
Phrasal verbs die je zult horen
| Woord | Uitspraak | Betekenis |
|---|---|---|
| figure out werkwoord | uitvogelen, er achter komen | |
| come together werkwoord | /ˈkʌm tʊˈɡɛðɚ/ | bijeenkomen, samenkomen |
| find out werkwoord | ontdekken, onderzoeken | |
| turn off werkwoord | uitzetten, uitschakelen |
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | are arranged · can be hidden · is foreshortened |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | man who was · courtyard which is · things which are |
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | we've constructed · you've enjoyed |
Uitspraak om op te letten
De spreker gebruikt 17 samentrekkingen en verkorte vormen, zoals we're, you're, don't. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: circulation /ˌsɝkjʊˈleɪʃən/, proportion /pɹəˈpɔɹʃən/, negotiable /nɪˈɡoʊʃəbəl/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, mirage /mɪˈɹɑːʒ/
- Lange woorden — let op de klemtoon: circulation /ˌsɝkjʊˈleɪʃən/, negotiable /nɪˈɡoʊʃəbəl/, intimacy /ˈɪn.tɪ.mə.si/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, expedience /ɛkˈspiː.dɪ.əns/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: courtyard /ˈkɔɹt.jɑɹd/, expansive /ɪkˈspænsɪv/, facade /fəˈsɑ(ː)d/, mirage /mɪˈɹɑːʒ/, precede /pɹɪˈsid/
- /æ/ — opener dan de Nederlandse “e”: choreograph /ˈkɔɹjəɡɹæf/, expansive /ɪkˈspænsɪv/, backdrop /ˈbæk.dɹɑp/, analyze /ˈæn.əˌlaɪz/, static /ˈstæt.ɪk/
- /g/ — een harde plofklank, geen Nederlandse “g”: congregate /ˈkɒŋɡɹəɡeɪt/, negotiable /nɪˈɡoʊʃəbəl/, choreograph /ˈkɔɹjəɡɹæf/, glimpse /ˈɡlɪm(p)s/, organize /ˈɔɹɡənaɪz/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Spreek zin voor zin na op normale snelheid en herhaal elke zin tot je ritme gelijk is aan dat van de spreker.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als circulation, dine, induce.
Wat is de Shadowing-techniek?
Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.