Luyện nói tiếng Anh bằng Shadowing qua video: How This Famous Architect Revolutionized The Way Architects Design | Architectural Digest
Chọn chế độ luyện tập
Mỗi chế độ mở một phòng luyện tập toàn màn hình.
219 câu
Nếu các câu quá ngắn hoặc quá dài, hãy bấm Edit để chỉnh sửa.
1
Zaha Hadid's buildings are complex, surprising, and entirely unique.
2
And it turns out, so is her process for designing them.
3
I'm Michael Weissner, I'm an architect.
4
And today we're going to discover how Zaha Hadid designs a building and what makes her process so revolutionary.
5
Zaha Hadid is famous for breathtaking designs that seem to defy logic, and sometimes even gravity.
6
But while her buildings are undoubtedly eye -catching, unprecedented, and complex, it's not the buildings themselves that are the most revolutionary thing about her legacy.
7
In fact, it was how she went about designing a building that changed the way we think about architecture.
8
So let's talk about her design process, beginning with the project that inspired her to rethink what was possible.
9
This is called Malevich's Tectonic, and Zaha Hadid painted it as part of her fourth -year thesis at the Architectural Association in London.
10
Her teachers at the time, Rem Koolhaas and Ilya Zangelis, challenged their students to use the revolutionary painter Malevich's work as the basis for a project proposal.
11
The assignment would profoundly change Zaha and the way she thought about architecture.
12
To understand why, let's back up and talk about what made Malevich revolutionary as a painter.
13
Broadly speaking, there are two types of art, objective and non -objective.
14
Objective art is representational.
15
A chair looks like a chair, a flower looks like a flower.
16
It is showing us recognizable things in a recognizable way.
17
Even cubism falls into this category.
18
A distorted face still reads as a face.
19
It never becomes truly abstract.
20
Non -objective art, by contrast, is not representational at all.
21
It is abstract.
22
It is an exercise in pure expression by the artist.
23
And at the time that Malevich was working, abstract art was a brand new idea.
24
He was at the forefront of developing the entire concept of non -objective art in a movement that he called suprematism.
25
The name comes from the idea that his art was concerned with the supremacy of pure feeling, as opposed to the representation of the real world,
26
which is basically what art was up until that point.
27
And to support this focus on feeling, his art was characterized by simple geometric shapes and a limited color palette and rejected realistic representation entirely.
28
So how does this relate to Zaha's thesis project?
29
In her own words, she was inspired by Malevich's art to rethink design she said
30
art used to be re -presentation rather than creation abstraction opened
31
the possibility of unfettered invention she also said i felt limited
32
by the poverty of the traditional system of drawing in architecture
33
and was searching for a new means of representation
34
so she began to experiment with abstraction inspired by malevich's art
35
so malevich created these sculptural objects he called architectons
36
which were essentially these 3d objects that took his ideas of shapes
37
that he used in his paintings and turned them into a 3D piece.
38
The assignment that Koolhaas
39
and Zengelis gave their students was to use this architecton as the basis for a design for a real -world building.
40
So let's look at this painting that she has created.
41
So this painting is intended to read as a presentation of a hotel and apartment complex built across Hungerford Bridge in London.
42
This is far from a typical rendering of a building.
43
For one thing, it's abstracted.
44
It mixes perspectives of two dimensions and three dimensions.
45
Like Malevich, it uses very simple geometric shapes.
46
So you see it in 3D over here.
47
You see silhouettes of it over here, and they're flying by, creating movement.
48
It's almost as if someone threw it, and it's just hurling through space.
49
And my favorite part of this is she takes all these pieces, which sort of is exactly what Malevich was doing.
50
So if we look at Malevich's supremacist composition, 1915,
51
what you see in this painting are these three very strong black shapes floating on essentially a blank white background
52
and then under that are these floating array of red rectangles lines and squares
53
and you could see how those shapes here become these shapes here
54
and these shapes become the architecton and then she's taking
55
that one step further and according to her assignment is taking that architecton
56
and is turning it into a building zaha hadid has spoken
57
of how this project opened up new ways of thinking for her
58
but this was only the beginning for zaha who would continue
59
to explore this process throughout her career one of the first projects
60
that she became known for was her winning entry for the
61
peak an architectural competition for a private club at the top of a mountain in kowloon hong kong
62
so this is a painting she composed for part of her award -winning entry into this competition.
63
And what I love about this painting is
64
that she shows the whole city and then the mountain and buildings off in the distance and then the very top.
65
There's her project, the peak, near the peak of this mountain.
66
So essentially what she's showing is not only her project in relation to the rest of the city,
67
which is very much like the Malevich idea of showing the shapes in relation to one another, but she's also showing that her idea for the building grows out of the mountain.
68
It almost looks like it's part of the mountain.
69
And these are some of the paintings and drawings she did as part of the design process.
70
So I love these drawings because they're half planned, half painting, and they almost have a feel of Arabic script writing as part of them.
71
Quite often she would begin the idea for a project with these calligraphic drawings, these sort of pieces of calligraphy and form.
72
And then she would move from there into painting to further refine the idea, and it would evolve eventually into a building.
73
So this project was never built, but she used a lot of these ideas in later projects.
74
And you could see how those sketches we were just looking at before evolve into the building.
75
So looking at this, you could see ideas that Malevich had here.
76
But unlike Malevich, whose forms never really overlapped, this is more reminiscent of El Lissitzky,
77
who was Malevich's protege in a lot of ways.
78
For El Lissitzky, the idea of expressing personal emotions through art was not enough.
79
So he aligned himself with a movement known as Constructivism, which was based in Russia and founded by Vladimir Tatlin and Alexander Rodchenko.
80
While Suprematism viewed art as a spiritual and emotional experience, Constructivism saw it as a tool for social progress.
81
Elder Sitsky even wrote a children's book called About Two Squares, which used the artistic language of Suprematism to question the societal order of the day,
82
and which is still considered an important work in graphic design.
83
Constructivism took the floating compositions of Malevich
84
and joined the geometric shapes together in a way that could be used as a basis for functional design.
85
This meant that the art of the constructivist movement could have practical applications in architecture.
86
But the concept he explored that would prove most influential to Zaha Hadid was the idea of the fourth dimension.
87
Einstein at this time was a great inspiration for many, and he had been exploring the idea of the fourth dimension essentially
88
if one dimension is a line and two dimensions is a plane
89
and three dimensions is a cube then the fourth dimension adds the element of time
90
and essentially architecture always has had the element of time embedded in it
91
because we move through it once there's movement there's time in his most famous works prounds
92
which is an acronym for project for the affirmation of the
93
new in russian El -Isitsky wanted to create a visual illusion that would transcend the flat surface,
94
attempting to imply this unseen dimension of time that was beyond human perception.
95
To achieve this, he used several artistic techniques, which later also appear in the designs of Zaha Hadid.
96
Floating geometric forms, multiple vanishing points, dynamic perspectives, and overlapping planes, which at times appear to defy gravity.
97
You can see this idea of the fourth dimension beginning to
98
come into play in Zaha's architecture with the Maxi Museum in Rome.
99
So this is the Maxi Museum.
100
You can see from this overhead that that idea of calligraphy is still very much present in the design of this project.
101
These forms almost feel like some form of writing.
102
So when you compare this to her original sketches for the museum, which you see here, You get the idea of this sort of movement,
103
which she then intends for people to move through her museum.
104
But to really get a sense of the movement of her buildings, you need to look at them from the interior.
105
So this is a view inside the Maxi Museum.
106
So how does one express four dimensions?
107
How does one express the element of time within a building?
108
So Zaha had this idea that she spoke about
109
that she wants people to experience the interiors of her buildings through the idea of these choices that we make.
110
So she offers different paths through the same space with the idea that depending on the path you pick,
111
it affects the way you'll experience the building.
112
And I think one could say that's her expression of the fourth dimension.
113
The way you move through the building, the element of time, is very much part of how she looked at design.
114
So just like the way you really can't see the end of the space
115
or the beginning of the space in this photograph, it's almost like the way one experiences time, that you can't see the end.
116
The beginning is very hazy and you wind your way through the space.
117
So let's just talk about this interior for a second.
118
So, this red line and these black forms that are the stairway and the upper walkway,
119
they are in direct contrast to the surrounding white walls and gray of the concrete and the white floor.
120
So, it creates this.. constructivist, suprematist composition.
121
And then she expresses the movement of the ceiling above with these fins, these parallel fins, these baffles,
122
and those move with the shape of the building as you wind your way through.
123
So another idea that Zaha explored was the idea that all representational drawing is an illusion.
124
And that includes the way we draw buildings and the way that they're depicted on the page.
125
One of the most fundamental ideas in art is representation.
126
How do we draw or paint something in two dimensions in a way that best resembles what we see with our eyes?
127
And one of the main inventions of representational art is what's known as perspectival drawing or perspective.
128
Ancient civilizations like the Greeks and Romans used rudimentary techniques to create depth in their art.
129
However, it was during the Italian Renaissance in the 15th century that linear perspective was formally developed and codified.
130
Filippo Brunelleschi, an architect, is credited with pioneering the mathematical principles of perspective.
131
His methods were then refined later by artists like Leon Battista Alberti, who wrote De Pictura in 1435,
132
a treatise outlining the rules of perspective in art.
133
So let's get technical for a second, but in a very rudimentary way.
134
If one were drawing a simple one -point perspective, you start with a horizon line, then you pick vanishing point and then
135
if you're going to draw a frame draw the parallel lines converge at
136
that vanishing point which is this and
137
so a person would be standing right here
138
and we basically just draw in a room right
139
and here's a person standing in the room in silhouette that's
140
the real basics of what a one point perspective is
141
so all those lines converge to this vanishing point But this is an illusion, right?
142
In essence, what I've really drawn is four trapezoids.
143
And here's one of them.
144
It's actually a shape.
145
It appears like it's going off into space, but it's not because it's on the page.
146
So it's an illusion, what we've drawn.
147
It creates the illusion of depth.
148
Then there's two -point perspective.
149
Two -point perspective takes that same idea with a horizon line, but it introduces two vanishing points so that if you had a cube,
150
they go back to that vanishing point the same way.
151
And again, that appears to be a three -dimensional object.
152
But in fact, one could just look at it as two trapezoids touching one another.
153
That's perspective in a very, very simplified way.
154
Then there's these other types of three -dimensional drawing in architecture.
155
One is called axonometric, one is called isometric.
156
Axonometric takes a square like that and then projects lines.
157
And that also reads like a three -dimensional object.
158
So what this does is it takes an exact representation of what's drawn in the plan, the exact dimensions and the exact shape,
159
and then it just projects lines to make it look three -dimensional
160
that an isometric takes that same piece in the plan and makes it illusionistic.
161
So really what's happening is this is a true 90 degree angle, right?
162
But an isometric, it's a false angle.
163
This is actually drawn at 120 degrees and 30 degrees.
164
But in our mind, we read this as a 90 degree angle.
165
So the axonometric drawing takes the actual 90 degree shape and then projects.
166
the isometric adds illusion to that top plane
167
so the top square looks as if it's been rotated
168
but we still read it as a square in fact we read all three sides as a square
169
to make this cube
170
but in reality it's just a hexagon divided into three rhombuses it's an illusion
171
and so in addition to artistic renderings of a completed building which use perspective to depict what the building will look like.
172
Architects also draw plans, sections, and elevations with no three -dimensional representation, which builders use to construct the building.
173
But Zaha liked to play with this idea a little.
174
She would take these distorted shapes that one sees in an isometric, for instance, and she would put those into her plans.
175
So the shapes that make up the illusions of a cube, for instance, would actually become the shapes that make up her plans and elevations.
176
And a good example of this are the plans she devised for the BMW Center in Germany.
177
This is the floor plan of the building.
178
This is actually what the builders will build from.
179
But at the same time, what Zaha has done, which I find to be really clever and cheeky at the same time, is she's injected the illusion...
180
of 3D into the two -dimensional drawing.
181
So this appears to be a square that we're looking at as a three -dimensional object, but it's not, it's just a rhombus.
182
So she's taken that shape, which is a rhombus, and she's using it as the shape of a room here in this plan.
183
So if we spin the plan around, we can draw this same exact piece that we just were looking at before.
184
So right there, that's an example of what she was depicting in her plan, which is a radical idea.
185
So in effect, she's taking an illusion and making it real.
186
And so when you're in it, it feels distorted because these walls are not at right angles to each other.
187
She's injecting this three -dimensional illusion into this two -dimensional drawing, and then it becomes a three -dimensional space.
188
So another example of how she plays with distortion is at her first built project, which is the Vitro Fire Station in Germany.
189
so her idea for this building was all about sort of frozen action
190
and her idea because it was a fire station
191
that at any moment the building would spring into action
192
and it would be this explosion of movement and
193
so what she does is she takes these shapes like this one
194
which or could read as a rectangle that's been distorted
195
because a light was projected against it and this would be the shadow
196
that would be revealed from that projection and then she builds
197
that shape and all the walls
198
and everything in this building very few things are actually at
199
right angles the walls are canted the canopy is slanting up
200
the edge of the wall is cut at a slant
201
and again all to reinforce this idea of an explosion of movement but
202
when one looks at these shapes from a different point of
203
view you do here all of a sudden it's completely different this is such a great contrast
204
because this shape is this shape it's the same exact canopy
205
so it's really this brilliant sort of play on shape
206
and form that was up until this point not really explored
207
And she created this whole idea through the idea of drawing
208
and painting and creating these different ways of looking at buildings and designing them.
209
So by combining an artistic sensibility to representation and an abstraction of the design process itself,
210
Zaha was able to make some of the world's most unique and breathtaking buildings, of which we've only looked at very, very few.
211
So I love the way that she combined this idea of art
212
and architecture and created something completely different and something completely new.
213
And she did an amazing amount of these fantastic paintings in her earlier years that are really great works of art.
214
She passed away way too soon in 2016.
215
But she set herself apart as an artist and an architect
216
that truly believed in the power of design to create spaces
217
which could improve the lives and experiences of anyone who came in contact with them.
218
So what's your favorite Zaha Hadid building?
219
Let us know in the comments below.
Tải Ứng Dụng
Mọi thứ bạn cần để nói trôi chảy
Chấm điểm AIChấm từng câu nói
Luyện IPAThành thạo mọi âm
Từ vựngMở rộng vốn từ
Game Từ vựngHọc qua chơi
Cùng kênh
B21
Inside Troian Bellisario & Patrick J. Adams’s Eclectic L.A. Home | Open Door | Architectural Digest
Daily ConversationWorking Adults
C1Inside An Experimental Off-Grid Modern Cabin | Unique Spaces | Architectural Digest
Daily ConversationUniversity Students
C11
Architect Breaks Down 5 of the Most Common New York Apartments | Architectural Digest
Daily ConversationWorking Adults
C12
How This Famous Architect Changed America | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B23
Inside Amanda Seyfried’s Peaceful New York Home | Open Door | Architectural Digest
Daily ConversationWorking Adults
B23
Inside a Small 465-Sq-Ft Malibu Beach House With a Loft Bedroom | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
B22
Inside Lenny Kravitz’s Regal Paris Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B27
Inside Dakota Johnson's Serene Hollywood Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B26
Inside The Home Frank Lloyd Wright Designed For His Son | Unique Spaces | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
C14
Every Way Emma Chamberlain Has Updated Her Home | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B11
Inside Jensen and Danneel Ackles' Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B22
Inside Jeff Goldblum & Emilie Goldblum's Playful Guest House | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B24
Inside Lana Condor’s Dream California Home | Open Door | Architectural Digest
University StudentsWorking Adults
C14
Inside a Woodland Home Built Over Water to Become One With Nature | Architectural Digest
Business EnglishUniversity StudentsWorking Adults
B22
Inside Nina Dobrev's 1920's Spanish-Style Home | Open Door | Architectural Digest
Business EnglishDaily ConversationUniversity Students
B226
Inside Kendall Jenner’s Cozy Mountain Home | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B210
Inside Kendall Jenner’s Home at Christmas | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B216
Inside Kendall Jenner’s Cozy L.A. Hideaway | Open Door | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
C1How 'Dune' Replicated Real-Life Ancient Architecture | Architectural Digest
Daily ConversationUniversity StudentsWorking Adults
B1Inside Jennifer Garner’s Farm-Style L.A. Home | Open Door | Architectural Digest
Business EnglishDaily ConversationUniversity Students
FOR YOU
Video gợi ý
C13
62 câu
A mind-blowing explanation of symmetry | Frank Wilczek for Big Think
Daily ConversationUniversity StudentsWorking Adults
C11
33 câu
What is the Avant-Garde? Art Movements & Styles
Daily ConversationUniversity Students
C11
114 câu
Harnessing generative AI in architecture, engineering & construction
Daily ConversationUniversity StudentsWorking Adults
C11
113 câu
Architectural Design Process Explained
Daily ConversationUniversity StudentsWorking Adults
C11
143 câu
The Architecture of Kengo Kuma: A Complete Retrospective
Daily ConversationUniversity StudentsWorking Adults
C11
238 câu
Cosmic Insignificance Theory: A Simple Idea That Will Change Your Life Forever
Daily ConversationUniversity StudentsWorking Adults
C11
215 câu
This New Pyramid Theory Explains the Missing Evidence
Daily ConversationUniversity StudentsWorking Adults
B21
643 câu
LAW ROACH IS AN ICONIC GUEST | ZIWE INTERVIEW
Interview EnglishDaily ConversationUniversity Students
C12
68 câu
Monet's Water Lilies: Great Art Explained
Daily ConversationUniversity StudentsWorking Adults
C186 câu
What Makes a Great Leader?
Daily ConversationUniversity StudentsWorking Adults
C11
43 câu
An Experiment on a Bird in the Air Pump
Daily ConversationUniversity StudentsWorking Adults
Ngữ Cảnh
Trong video này, chúng ta sẽ khám phá cách mà kiến trúc sư nổi tiếng Zaha Hadid thiết kế một tòa nhà và quá trình sáng tạo độc đáo của bà. Zaha Hadid nổi tiếng với những thiết kế ấn tượng, dường như vượt qua cả logic và trọng lực. Tuy nhiên, điều làm nên sự cách mạng trong di sản của bà không chỉ là những công trình mà còn là cách bà tiếp cận thiết kế kiến trúc.
Cụm Từ Hữu Ích & Cách Sử Dụng
- Thiết kế kiến trúc - Architecture design
- Quá trình sáng tạo - Creative process
- Ý tưởng trừu tượng - Abstract ideas
- Hình khối đơn giản - Simple shapes
- Di sản cách mạng - Revolutionary legacy
Thử Thách Luyện Nói Của Bạn
Bây giờ, hãy thử thách bản thân với một bài luyện nói tiếng Anh! Hãy chọn một trong các câu từ video và thực hành phát âm. Bạn có thể bắt đầu với câu “Art used to be re-presentation rather than creation.” Hãy tập trung vào ngữ điệu và âm điệu trong cách phát âm của bạn. Sử dụng shadow speech để lặp lại theo những gì bạn nghe thấy, giúp cải thiện phát âm tiếng anh chuẩn của bạn. Nếu bạn muốn, hãy ghi âm lại phần luyện tập của mình và so sánh với bản gốc để nhận diện những điểm cần cải thiện.
Thông qua việc luyện nói, bạn sẽ dần dần tự tin hơn trong việc giao tiếp bằng tiếng Anh. Hãy luôn nhớ rằng, luyện nói tiếng Anh không chỉ là về từ ngữ mà còn là về cảm xúc và sự sáng tạo mà bạn truyền tải trong từng câu chữ!
Ngữ pháp trong video
Những cấu trúc người nói dùng nhiều nhất, kèm đúng cụm từ trong video:
| Cấu trúc | Trong video |
|---|---|
| Câu bị động be + quá khứ phân từ — nhấn vào việc xảy ra, không phải người làm | is called · was characterized · was inspired |
| Thì hiện tại hoàn thành have/has + quá khứ phân từ — việc đã xảy ra nhưng còn liên quan đến hiện tại | has created · has spoken · has had |
| Mệnh đề quan hệ who / which + mệnh đề — thêm thông tin về người hoặc vật | Constructivism, which was · point which is · shape, which is |
Phương Pháp Shadowing Là Gì?
Shadowing là kỹ thuật học ngôn ngữ có cơ sở khoa học, ban đầu được phát triển cho chương trình đào tạo phiên dịch viên chuyên nghiệp và được phổ biến rộng rãi bởi nhà đa ngôn ngữ học Dr. Alexander Arguelles. Nguyên lý cốt lõi đơn giản nhưng cực kỳ hiệu quả: bạn nghe tiếng Anh của người bản xứ và lặp lại to ngay lập tức — như một "cái bóng" (shadow) đuổi theo người nói với độ trễ chỉ 1–2 giây. Khác với luyện ngữ pháp hay học từ vựng bị động, Shadowing buộc não bộ và cơ miệng phải đồng thời xử lý và tái tạo ngôn ngữ thực tế. Các nghiên cứu khoa học xác nhận phương pháp này cải thiện đáng kể phát âm, ngữ điệu, nhịp điệu, nối âm, kỹ năng nghe và độ lưu loát khi nói — đặc biệt hiệu quả cho người luyện IELTS Speaking và muốn giao tiếp tiếng Anh tự nhiên như người bản ngữ.