Prática de Shadowing: Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home (Design Masterclass) - Aprenda a falar inglês com vídeo
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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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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “Architect Steven Harris’ 5 Non-Negotiables When Designing His Own Home”. As palavras que mais se repetem: space, landscape, bedroom. Este vídeo tem 110 frases e 1512 palavras para praticar shadowing. A fala dura 12:03. O falante mantém um ritmo estável de cerca de 125 palavras por minuto, confortável para o shadowing. 85% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| congregate verbo | /ˈkɒŋɡɹəɡeɪt/ | congregar |
| circulation substantivo | /ˌsɝkjʊˈleɪʃən/ | circulação, circundação |
| proportion substantivo | /pɹəˈpɔɹʃən/ | proporção |
| dine verbo | /daɪn/ | jantar, cear |
| negotiable adjetivo | /nɪˈɡoʊʃəbəl/ | negociável |
| induce verbo | /ɪnˈduːs/ | induzir |
| quarry substantivo | /ˈk(w)ɔɹ.i/ | pedreira |
| intimacy substantivo | /ˈɪn.tɪ.mə.si/ | intimidade |
| courtyard substantivo | /ˈkɔɹt.jɑɹd/ | pátio |
| abrupt adjetivo | /əˈbɹʌpt/ | brusco, abrupto |
| choreograph verbo | /ˈkɔɹjəɡɹæf/ | coreografar |
| contour substantivo | /ˈkɒntɔː/ | contorno |
| counterpoint substantivo | /ˈkaʊntə(ɹ)ˌpɔɪnt/ | contraponto |
| discretionary adjetivo | /dɪsˈkɹɛʃəˌnɛɹi/ | discricionário, irrestrito |
| expansive adjetivo | /ɪkˈspænsɪv/ | expansivo |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| figure out verbo | descobrir, deduzir |
| go up verbo | subir |
| find out verbo | descobrir |
| spread out verbo | espalhar-se |
| turn off verbo | desligar, apagar |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | are arranged · can be hidden · is foreshortened |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | man who was · courtyard which is · things which are |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | we've constructed · you've enjoyed |
Pronúncia para ficar de olho
O falante usa 17 contrações e formas reduzidas, como we're, you're, don't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “sh” e “zh”: circulation /ˌsɝkjʊˈleɪʃən/, proportion /pɹəˈpɔɹʃən/, negotiable /nɪˈɡoʊʃəbəl/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, mirage /mɪˈɹɑːʒ/
- Palavras longas — acerte a sílaba tônica: circulation /ˌsɝkjʊˈleɪʃən/, negotiable /nɪˈɡoʊʃəbəl/, intimacy /ˈɪn.tɪ.mə.si/, discretionary /dɪsˈkɹɛʃəˌnɛɹi/, expedience /ɛkˈspiː.dɪ.əns/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: congregate /ˈkɒŋɡɹəɡeɪt/, courtyard /ˈkɔɹt.jɑɹd/, abrupt /əˈbɹʌpt/, counterpoint /ˈkaʊntə(ɹ)ˌpɔɪnt/, equate /ɪˈkweɪt/
- /l/ final — a língua toca o céu da boca, não vira “u”: negotiable /nɪˈɡoʊʃəbəl/, motel /moʊˈtɛl/, horizontal /ˌhoɹəˈzɑn.təl/, vertical /ˈvɝ.tɪ.kəl/
- /h/ — um sopro suave, diferente do “r”: hallway /ˈhɔlˌweɪ/, horizontal /ˌhoɹəˈzɑn.təl/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Faça shadowing frase por frase na velocidade normal, repetindo cada uma até o seu ritmo ficar igual ao do falante.
- Grave a sua voz e compare com o original, prestando atenção a palavras como congregate, circulation, proportion.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.