Prática de Shadowing: Cambridge 11 Test 2 Section 4 Listening - Aprenda a falar inglês com vídeo

Escolha um modo de prática

Cada modo abre uma sala de prática em tela cheia.

52 frases

Se as frases estiverem muito curtas ou longas, clique em Edit para ajustá-las.

Section 4 You will hear part of a lecture to students of architecture about the design of a public building.

First, you have some time to look at questions 31 to 40.

Thank you.

Transcription by CastingWords

we've been discussing the factors the architect has to consider

when designing domestic buildings i'm going to move on now to consider the design of public buildings

and i'll illustrate this by referring to the new taylor concert hall that's recently been completed here in the city

So, as with a domestic building, when designing a public building,

an architect needs to consider the function of the building.

For example, is it to be used primarily for entertainment or for education or for administration?

The second thing the architect needs to think about is the context of the building.

This includes its physical location, obviously, but it also includes the social meaning of the building,

how it relates to the people it's built for.

And finally, for important public buildings, the architect may also be looking for a central symbolic idea on which to base the design,

a sort of metaphor for the building and the way in which it is used.

Let's look at the new Taylor Concert Hall in relation to these ideas.

The location chosen was a site in a run -down district that has been ignored in previous redevelopment plans.

It was occupied by a factory that has been empty for some years.

The whole area was some distance from the high -rise office blocks of the central business district and shopping centre,

but it was only one kilometre from the ring road.

The site itself was bordered to the north by a canal,

which had once been used by boats bringing in raw materials when the area was used for manufacturing.

The architect chosen for the project was Tom Harrison.

He found the main design challenge was the location of the site, in an area that had no neighbouring buildings of any importance.

To reflect the fact that the significance of the building in this quite run -down location was as yet unknown,

he decided to create a building centred around the idea of a mystery, something whose meaning still has to be discovered.

So how was this reflected in the design of the building?

Well, Harrison decided to create pedestrian access to the building and to make use of the presence of water on the site.

As people approach the entrance, they therefore have to cross over a bridge.

He wanted to give people a feeling of suspense as they see the building first from a distance and then close up,

and the initial impression he wanted to create from the shape of the building as a whole was that of a box.

The first side that people see, the southern wall, is just a high flat wall uninterrupted by any windows.

This might sound off -putting, but it supports Harrison's concept of the building,

that the person approaching is intrigued and wonders what will be inside.

And this flat wall also has another purpose.

At night time, projectors are switched on and it functions as a huge screen onto which images are projected.

The auditorium itself seats 1 ,500 people, the floors supported by 10 massive pads.

These are constructed from rubber and so are able to absorb any vibrations from outside and prevent them from affecting the auditorium.

The walls are made of several layers of honey -coloured wood, all sourced from local beech trees.

In order to improve the acoustic properties of the auditorium and to amplify the sound, They are not straight, they are curved.

The acoustics are also adjustable, according to the size of orchestra and the type of music being played.

In order to achieve this, there are nine movable panels in the ceiling above the orchestra, which are all individually motorised.

And the walls also have curtains, which can be opened or closed to change the acoustics.

The reaction of the public to the new building has generally been positive.

However, the evaluation of some critics has been less enthusiastic.

In spite of Harrison's efforts to use local materials, they criticise the style of the design as being international rather than local,

and say it doesn't reflect features of the landscape or society for which it is built.

That is the end of Section 4.

You now have half a minute to check your answers.

That is the end of the listening test.

You now have ten minutes to transfer your answers to the answer sheet.

Please stop writing and wait for your question booklet to be collected.

Baixar aplicativo

Tudo o que você precisa para falar fluentemente

Pronúncia com IANota em cada frase

Prática de IPADomine cada som

VocabulárioMonte seu banco de palavras

Jogo de vocabulárioAprenda brincando

Escaneie o QR

Download on theApp Store Get it onGoogle Play

Mesmo canal

Cambridge 11 Test 3 Section 4 Listening

Vocabulário e dicas de fala para esta lição

Esta aula de conversação usa o vídeo “Cambridge 11 Test 2 Section 4 Listening”. As palavras que mais se repetem: design, architect, wall, location, site. Este vídeo tem 52 frases e 771 palavras para praticar shadowing. A fala dura 7:22. O falante fala devagar, cerca de 105 palavras por minuto, o que dá tempo para imitar cada som. 86% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.

Vocabulário principal deste vídeo

15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:

Palavra	Pronúncia	Significado
architect substantivo	/ˈɑɹ.kɪˌtɛkt/	arquiteto, arquiteta
reflect verbo	/ɹɪˈflɛkt/	refletir
acoustic adjetivo	/əˈkuː.stɪk/	acústico
auditorium substantivo	/ˌɔ.dɪˌto.ɹi.əm/	auditório
orchestra substantivo	/ˈɔː.kɪs.tɹə/	orquestra
ignore verbo	/ɪɡˈnɔː/	ignorar
mystery substantivo	/ˈmɪs.t(ə.)ɹi/	mistério
refer verbo	/ɹɪˈfɜː/	encaminhar
architecture substantivo	/ˈɑː.kɪˌtɛk.t͡ʃə/	arquitetura
layer substantivo	/ˈleɪ̯ɚ/	camada
sheet substantivo	/ʃit/	folha
discover verbo	/dɪˈskʌvə/	descobrir
entrance substantivo	/ˈɛn.tɹəns/	entrada
collect verbo	/ˈkɑlɪkt/	juntar, reunir
honey substantivo	/ˈhʌni/	mel

Phrasal verbs que você vai ouvir

Palavra	Significado
run down verbo	atropelar

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	been completed · be used · is used
Present perfect have/has + particípio passado — uma ação passada que ainda importa agora	that's recently been completed · has been ignored · has been
Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa	orchestra, which are · curtains, which can
Possibilidade com “might / may” might/may + verbo — algo possível, mas não certo	may also be · might sound

Pronúncia para ficar de olho

O falante usa 4 contrações e formas reduzidas, como doesn't, I'll, I'm. Diga-as na forma curta, do jeito que você ouve.

Os sons de “sh” e “zh”: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
Palavras longas — acerte a sílaba tônica: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: architect /ˈɑɹ.kɪˌtɛkt/, reflect /ɹɪˈflɛkt/, acoustic /əˈkuː.stɪk/, sheet /ʃit/, collect /ˈkɑlɪkt/
/l/ final — a língua toca o céu da boca, não vira “u”: canal /kəˈnæl/, adjustable /əˈd͡ʒʌstəbəl/, movable /ˈmuːvəbəl/

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 architect, reflect, acoustic.

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.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: Cambridge 11 Test 2 Section 4 Listening - Aprenda a falar inglês com vídeo

Escolha um modo de prática

Baixar aplicativo

Cambridge 10 Test 4 Section 4 Listening

Cambridge 16 Test 3 Section 2 Listening

Cambridge 12 Test 1 Section 3 Listening

Cambridge 15 Test 1 Section 4 Listening

Cambridge 18 Test 4 Section 2 Listening

Cambridge 10 Test 3 Section 2 Listening

Cambridge 10 Test 2 Section 1 Listening

Cambridge 13 Test 1 Section 3 Listening

Cambridge 13 Test 1 Section 4 Listening

Cambridge 16 Test 4 Section 3 Listening

Cambridge 13 Test 4 Section 1 Listening

Cambridge 16 Test 1 Section 2 LIstening

Cambridge 14 Test 2 Section 1 Listening

Cambridge 16 Test 4 Section 2 Listening

Cambridge 12 Test 1 Section 4 Listening

Cambridge 16 Test 2 Section 2 Listening

Cambridge 12 Test 2 Section 4 Listening

Cambridge 17 Test 2 Section 3 Listening

Cambridge 15 Test 3 Section 4 Listening