Shadowing Practice: Cambridge 11 Test 2 Section 4 Listening - Learn English Speaking with Video
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Section 4 You will hear part of a lecture to students of architecture about the design of a public building.
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First, you have some time to look at questions 31 to 40.
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Thank you.
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Transcription by CastingWords
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we've been discussing the factors the architect has to consider
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when designing domestic buildings i'm going to move on now to consider the design of public buildings
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and i'll illustrate this by referring to the new taylor concert hall that's recently been completed here in the city
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So, as with a domestic building, when designing a public building,
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an architect needs to consider the function of the building.
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For example, is it to be used primarily for entertainment or for education or for administration?
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The second thing the architect needs to think about is the context of the building.
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This includes its physical location, obviously, but it also includes the social meaning of the building,
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how it relates to the people it's built for.
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And finally, for important public buildings, the architect may also be looking for a central symbolic idea on which to base the design,
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a sort of metaphor for the building and the way in which it is used.
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Let's look at the new Taylor Concert Hall in relation to these ideas.
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The location chosen was a site in a run -down district that has been ignored in previous redevelopment plans.
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It was occupied by a factory that has been empty for some years.
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The whole area was some distance from the high -rise office blocks of the central business district and shopping centre,
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but it was only one kilometre from the ring road.
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The site itself was bordered to the north by a canal,
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which had once been used by boats bringing in raw materials when the area was used for manufacturing.
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The architect chosen for the project was Tom Harrison.
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He found the main design challenge was the location of the site, in an area that had no neighbouring buildings of any importance.
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To reflect the fact that the significance of the building in this quite run -down location was as yet unknown,
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he decided to create a building centred around the idea of a mystery, something whose meaning still has to be discovered.
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So how was this reflected in the design of the building?
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Well, Harrison decided to create pedestrian access to the building and to make use of the presence of water on the site.
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As people approach the entrance, they therefore have to cross over a bridge.
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He wanted to give people a feeling of suspense as they see the building first from a distance and then close up,
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and the initial impression he wanted to create from the shape of the building as a whole was that of a box.
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The first side that people see, the southern wall, is just a high flat wall uninterrupted by any windows.
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This might sound off -putting, but it supports Harrison's concept of the building,
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that the person approaching is intrigued and wonders what will be inside.
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And this flat wall also has another purpose.
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At night time, projectors are switched on and it functions as a huge screen onto which images are projected.
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The auditorium itself seats 1 ,500 people, the floors supported by 10 massive pads.
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These are constructed from rubber and so are able to absorb any vibrations from outside and prevent them from affecting the auditorium.
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The walls are made of several layers of honey -coloured wood, all sourced from local beech trees.
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In order to improve the acoustic properties of the auditorium and to amplify the sound, They are not straight, they are curved.
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The acoustics are also adjustable, according to the size of orchestra and the type of music being played.
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In order to achieve this, there are nine movable panels in the ceiling above the orchestra, which are all individually motorised.
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And the walls also have curtains, which can be opened or closed to change the acoustics.
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The reaction of the public to the new building has generally been positive.
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However, the evaluation of some critics has been less enthusiastic.
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In spite of Harrison's efforts to use local materials, they criticise the style of the design as being international rather than local,
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and say it doesn't reflect features of the landscape or society for which it is built.
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That is the end of Section 4.
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You now have half a minute to check your answers.
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That is the end of the listening test.
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You now have ten minutes to transfer your answers to the answer sheet.
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Please stop writing and wait for your question booklet to be collected.
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Woordenschat en spreektips bij deze les
Deze spreekles is gebaseerd op de video “Cambridge 11 Test 2 Section 4 Listening”. Deze woorden komen het vaakst terug: design, architect, wall, location, site. Deze video bevat 52 zinnen en 771 woorden om na te spreken. Het gesproken deel duurt 7:22. De spreker praat langzaam, ongeveer 105 woorden per minuut, zodat je tijd hebt om elke klank na te doen. 86% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden; de rest kun je beter vooraf bekijken.
Belangrijke woorden in deze video
15 woorden uit de video die het leren waard zijn, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| architect zelfstandig naamwoord | /ˈɑɹ.kɪˌtɛkt/ | architect, architecte |
| reflect werkwoord | /ɹɪˈflɛkt/ | weerkaatsen |
| acoustic bijvoeglijk naamwoord | /əˈkuː.stɪk/ | akoestisch, akoestische |
| auditorium zelfstandig naamwoord | /ˌɔ.dɪˌto.ɹi.əm/ | gehoorzaal, zaal |
| orchestra zelfstandig naamwoord | /ˈɔː.kɪs.tɹə/ | orkest |
| ignore werkwoord | /ɪɡˈnɔː/ | negeren |
| mystery zelfstandig naamwoord | /ˈmɪs.t(ə.)ɹi/ | mysterie |
| refer werkwoord | /ɹɪˈfɜː/ | verwijzen, doorverwijzen |
| architecture zelfstandig naamwoord | /ˈɑː.kɪˌtɛk.t͡ʃə/ | architectuur, bouwstijl |
| layer zelfstandig naamwoord | /ˈleɪ̯ɚ/ | laag |
| sheet zelfstandig naamwoord | /ʃit/ | blad |
| discover werkwoord | /dɪˈskʌvə/ | ontdekken |
| entrance zelfstandig naamwoord | /ˈɛn.tɹəns/ | ingang |
| collect werkwoord | /ˈkɑlɪkt/ | verzamelen, opstapelen |
| honey zelfstandig naamwoord | /ˈhʌni/ | honing |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| run down werkwoord | aanrijden |
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 | been completed · be used · is used |
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | that's recently been completed · has been ignored · has been |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | orchestra, which are · curtains, which can |
| Mogelijkheid met “might / may” might/may + werkwoord — iets is mogelijk maar niet zeker | may also be · might sound |
Uitspraak om op te letten
De spreker gebruikt 4 samentrekkingen en verkorte vormen, zoals doesn't, I'll, I'm. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
- Lange woorden — let op de klemtoon: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: curve /kɚv/, pad /pæd/, coloured /ˈkʌl.əd/, absorb /æbˈsɔɹb/, criticize /ˈkɹɪtɪsaɪz/
- /æ/ — opener dan de Nederlandse “e”: canal /kəˈnæl/, evaluation /ɪˌvæljuˈeɪʃn̩/, pad /pæd/, enthusiastic /ɪnˌθjuːzɪˈæstɪk/, absorb /æbˈsɔɹb/
- /g/ — een harde plofklank, geen Nederlandse “g”: ignore /ɪɡˈnɔː/, significance /sɪɡˈnɪfɪkəns/, intrigue /ˈɪntɹiːɡ/
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 architect, reflect, acoustic.
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.