跟讀練習: Cambridge 11 Test 2 Section 4 Listening - 通過影片學習英語口語

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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.

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Cambridge 11 Test 3 Section 4 Listening

本課的詞彙與口語要點

這節口語課以影片“Cambridge 11 Test 2 Section 4 Listening”為素材。影片中反覆出現的詞有：design, architect, wall, location, site。這段影片共有 52 個句子、771 個單詞可供跟讀。講話部分時長為 7:22。說話人語速較慢，每分鐘約 105 個詞，你有足夠的時間模仿每一個音。 86% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中 15 個值得學習的單詞，附發音和釋義：

單詞	發音	釋義
architect 名詞	/ˈɑɹ.kɪˌtɛkt/	締造者 /締造者, 創造者 /創造者
reflect 動詞	/ɹɪˈflɛkt/	反映, 反射
auditorium 名詞	/ˌɔ.dɪˌto.ɹi.əm/	禮堂 /禮堂, 會堂 /會堂
orchestra 名詞	/ˈɔː.kɪs.tɹə/	樂團 /樂團, 樂隊 /樂隊
ignore 動詞	/ɪɡˈnɔː/	無視 /無視, 忽略
mystery 名詞	/ˈmɪs.t(ə.)ɹi/	謎 /謎, 謎團 /謎團
refer 動詞	/ɹɪˈfɜː/	談到 /談到
architecture 名詞	/ˈɑː.kɪˌtɛk.t͡ʃə/	建築 /建築, 建築學 /建築學
layer 名詞	/ˈleɪ̯ɚ/	層 /層
sheet 名詞	/ʃit/	篇, 張 /張
discover 動詞	/dɪˈskʌvə/	發現 /發現, 發覺 /發覺
entrance 名詞	/ˈɛn.tɹəns/	入口, 門口 /門口
collect 動詞	/ˈkɑlɪkt/	庋藏, 收藏
honey 名詞	/ˈhʌni/	фынми, 蜂蜜
landscape 名詞	/ˈlan(d)skeɪp/	風景 /風景, 景色

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	been completed · be used · is used
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	that's recently been completed · has been ignored · has been
定語從句 who / which + 從句 — 補充說明人或事物	orchestra, which are · curtains, which can
用 “might / may” 表可能 might/may + 動詞 — 有可能但不確定的事	may also be · might sound

需要注意的發音

說話人用了 4 次縮略和弱讀形式，例如 doesn't, I'll, I'm。請按聽到的簡短形式來說。

“sh” 和 “zh” 音: sheet /ʃit/, impression /ɪmˈpɹɛʃn̩/, relation /ɹɪˈleɪʃ(ə)n/, evaluation /ɪˌvæljuˈeɪʃn̩/, vibration /vaɪˈbɹeɪʃən/
長單詞——注意重音位置: auditorium /ˌɔ.dɪˌto.ɹi.əm/, primarily /ˈpɹaɪ.mə.ɹə.li/, architecture /ˈɑː.kɪˌtɛk.t͡ʃə/, evaluation /ɪˌvæljuˈeɪʃn̩/, significance /sɪɡˈnɪfɪkəns/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: discover /dɪˈskʌvə/, evaluation /ɪˌvæljuˈeɪʃn̩/, curve /kɚv/, individually /ˌɪndɪˈvɪd͡ʒ(u)əli/, vibration /vaɪˈbɹeɪʃən/
詞尾子音 — 要讀清楚，後面不要加母音: architect /ˈɑɹ.kɪˌtɛkt/, reflect /ɹɪˈflɛkt/, acoustic /əˈkuː.stɪk/, sheet /ʃit/, entrance /ˈɛn.tɹəns/
/r/ 和 /l/ 的區別: reflect /ɹɪˈflɛkt/, primarily /ˈpɹaɪ.mə.ɹə.li/, relation /ɹɪˈleɪʃ(ə)n/, relate /ɹɪˈleɪt/, illustrate /ˈɪl.əˌstɹeɪt/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
用正常速度逐句跟讀，每句重複到你的節奏與說話人一致為止。
錄下自己的聲音並與原聲對比，特別注意 architect, reflect, auditorium 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: Cambridge 11 Test 2 Section 4 Listening - 通過影片學習英語口語

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