Shadowing Practice: Inside The Home Frank Lloyd Wright Designed For His Son | Unique Spaces | Architectural Digest - Learn English Speaking with Video
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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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Woordenschat en spreektips bij deze les
Deze spreekles op niveau B2 is gebaseerd op de video “Inside The Home Frank Lloyd Wright Designed For His Son”. Deze woorden komen het vaakst terug: Wright, space, David, sense. Deze video bevat 159 zinnen en 2291 woorden om na te spreken. Het gesproken deel duurt 15:14. De spreker praat in een natuurlijk tempo van ongeveer 150 woorden per minuut, dicht bij een alledaags gesprek. 82% 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 |
|---|---|---|
| ceiling zelfstandig naamwoord | /ˈsilɪŋ/ | plafond, zoldering |
| spiral zelfstandig naamwoord | /ˈspaɪɹəl/ | spiraal |
| architect zelfstandig naamwoord | /ˈɑɹ.kɪˌtɛkt/ | architect, architecte |
| hallway zelfstandig naamwoord | /ˈhɔlˌweɪ/ | gang |
| circular bijvoeglijk naamwoord | /ˈsɜɹ.kjə.ləɹ/ | rond |
| taper werkwoord | /ˈteɪpɚ/ | versmallen, toespitsen |
| fireplace zelfstandig naamwoord | /ˈfaɪɹpleɪs/ | open haard |
| courtyard zelfstandig naamwoord | /ˈkɔɹt.jɑɹd/ | binnenplaats, hof |
| continuity zelfstandig naamwoord | /ˌkɑn.tɪˈn(j)u.ə.ti/ | continuïteit |
| restoration zelfstandig naamwoord | /ɹɛstəˈɹeɪʃən/ | restauratie |
| curve zelfstandig naamwoord | /kɚv/ | curve, kromming |
| compress werkwoord | /ˈkɑmpɹɛs/ | comprimeren, samendrukken |
| mahogany zelfstandig naamwoord | /məˈhɑɡəni/ | mahonie |
| plywood zelfstandig naamwoord | /ˈplaɪwʊd/ | multiplex |
| unfold werkwoord | /ʌnˈfoʊld/ | openvouwen, uitspreiden |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| come up with werkwoord | bedenken, verzinnen |
| show up werkwoord | tentoonstellen |
Zinnen om te herhalen
Korte, volledige zinnen uit de video die je in alledaagse gesprekken kunt gebruiken:
- 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?
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | has brought · hasn't been · We've already experienced |
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | were done · is made · is constructed |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | space, which is · which which is |
Uitspraak om op te letten
De spreker gebruikt 35 samentrekkingen en verkorte vormen, zoals we're, you're, wasn't. Spreek ze kort uit, zoals je ze hoort.
- De “th”-klanken: underneath /ˌʌndɚˈniθ/, southeast /sawˈθɪjst/
- De klanken “sh” en “zh”: restoration /ɹɛstəˈɹeɪʃən/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, compression /kəmˈpɹɛʃ.ən/, speculation /ˌspɛk.jəˈleɪ.ʃən/, apprenticeship /əˈpɹɛn.tɪs.ʃɪp/
- Lange woorden — let op de klemtoon: continuity /ˌkɑn.tɪˈn(j)u.ə.ti/, restoration /ɹɛstəˈɹeɪʃən/, juxtaposition /ˌd͡ʒʌk.stə.pəˈzɪʃ.ən/, mahogany /məˈhɑɡəni/, longevity /lɒnˈd͡ʒɛv.ɪ.ti/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: courtyard /ˈkɔɹt.jɑɹd/, curve /kɚv/, plywood /ˈplaɪwʊd/, unfold /ʌnˈfoʊld/, mold /moʊld/
- /æ/ — opener dan de Nederlandse “e”: gravitate /ˈɡɹævɪteɪt/, expansive /ɪkˈspænsɪv/, fascinate /ˈfæsɪneɪt/, plasticity /ˌplæs.ˈtɪs.ɪ.ti/, triangular /tɹaɪˈæŋ.ɡjə.lɚ/
- /g/ — een harde plofklank, geen Nederlandse “g”: gravitate /ˈɡɹævɪteɪt/, mahogany /məˈhɑɡəni/, disintegrate /dɪsˈɪntɪɡɹeɪt/, polygon /ˈpɑliˌɡɑn/, triangular /tɹaɪˈæŋ.ɡjə.lɚ/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als ceiling, spiral, architect.
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.