Учебное пособие 121
.pdfФедеральное агентство по образованию Государственное образовательное учреждение высшего профессионального образования
Воронежский государственный архитектурно-строительный университет
Кафедра иностранных языков
Modern Architecture
Методическая разработка по английскому языку
для студентов 2-го курса, обучающихся по направлению 270300 «Архитектура»
Воронеж 2009
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УДК 802.0/07 ББК 81.2 Англ. -923
Составитель:
О.О. Пантелеева
Рецензент:
Т.А. Воронова, канд. филол. наук, старший преподаватель кафедры русского языка и межкультурной коммуникации
Воронежского государственного архитектурно-строительного университета
Печатается по решению редакционно-издательского совета Воронежского государственного архитектурно-строительного университета
Modern architecture : метод. разработка по английскому языку для студ. 2 курса по направлению 270300 «Архитектура» / Воронеж. гос. арх.- строит. ун-т.; сост. О.О. Пантелеева. – Воронеж, 2009. – 31 с.
Методическая разработка «Modern architecture» предназначена для изучения тем, предусмотренных программой. В текстах рассматриваются творческие течения, тенденции и направления современной архитектуры и работы таких ведущих архитекторов, как Ф. Л. Райт, Ле Корбюзье, Мис ван дер Роэ и др. Речевой материал текстов отражает богатство современного английского языка, представляет специальные языковые, речевые обороты, термины профессиональной речи. Послетекстовые задания направлены на проверку понимания прочитанного текста, система упражнений способствует активному усвоению лексики и грамматического материала.
Предназначена для студентов 2-го курса, обучающихся по направлению 270300 «Архитектура».
УДК 802.0/07 ББК 81.2 Англ. -923
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ВВЕДЕНИЕ
Методическая разработка составлена в соответствии с требованиями действующей программы по английскому языку для неязыковых вузов. Данная разработка предназначена для тех, кто изучает вопросы архитектуры и совершенствует свои знания в этой области профессионального общения на английском языке. Основная цель – развитие речевой деятельности в профессиональной сфере общения. В основу разработки положен принцип комму- никативно-деятельностного обучения, представлены виды всевозможных заданий: извлечь информацию, подготовить пересказ, сделать письменный перевод, проработать в упражнениях грамматический материал.
UNIT 1
Modern architecture.
Grammar: The Indefinite Active Tenses. Tag questions.
Read the text and comment the following: ‘The architect is a contemporary of the future’.
MODERN ARCHITECTURE
Modern Architecture, the buildings and building practices of the late 19th and the 20th centuries.
The history of modern architecture encompasses the architects who designed those buildings, stylistic movements, and the technology and materials that made the new architecture possible. Modern architecture originated in the United States and Europe and spread from there to the rest of the world.
Among notable early modern architectural projects are exuberant and richly decorated buildings in Glasgow, Scotland, by Charles Rennie Mackintosh; imaginative designs for a city of the future by Italian visionary Antonio Sant’Elia; and houses with flowing interior spaces and projecting roofs by the American pioneer of modernism, Frank Lloyd Wright. Important modern buildings that came later include the sleek villas of Swiss-French architect Le Corbusier; bold new factories in Germany by Peter Behrens and Walter Gropius; and steel and glass skyscrapers designed by German-born architect Ludwig Mies van der Rohe.
Charles Rennie Mackintosh(1868-1928) was a Scottish architect, designer and watercolourist. He was a designer in the Arts and Crafts movement and also the main exponent of Art Nouveau in the United Kingdom. He studied during a period of great artistic activity in the city that produced the distinctive Glasgow Style. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in archi-
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tecture could be achieved only through revealed construction. He had a considerable influence on European design.
Frank Lloyd Wright (1867-1959) is considered the most influential American architect of the 20th century. His legacy is an architectural style that departed from European influences to create a purely American form, one that included the idea that buildings can be in harmony with the natural environment. Over his long career Wright designed a wide variety of structures, both public and private, including the home known as Fallingwater, the Johnson Wax Building and New York's Guggenheim Museum.
Le Corbusier (1887-1965), a Swiss architect, city planner, and painter who practiced in France, was one of the most influential architects of the 20th century. In the range of his work and in his ability to enrage the establishment and surprise his followers, he was matched in the field of modern architecture perhaps only by Frank Lloyd Wright. He adopted the pseudonym Le Corbusier for his architectural work c. 1920 and for his paintings c. 1930. His visionary books, startling white houses and terrifying urban plans set him at the head of the Modern Movement in the 1920s, while in the 1930s he became more of a complex and skeptical explorer of cultural and architectural possibilities. Before he died, he established the Fondation Le Corbusier in Paris to look after and make available to scholars his library, architectural drawings, sketches and paintings. Among his works are Villa Savoye, Poissy (1929-1931); Pavillon Suisse, Cité Universitaire, Paris (1930–3); Immeuble Clarté, Geneva (1930-1932); Palace of the Soviets, Moscow (1931); and others.
The German-American architect, educator, and designer Walter Gropius (1883-1969) was director of the famed Bauhaus in Germany from 1919 to 1928 and occupied the chair of architecture at the Harvard University Graduate School of Design from 1938 to 1952.
Ludwig Mies van der Rohe (1886-1969), Germanborn American architect, furniture designer and teacher, was a leading exponent of the International Style. Mies's 1921 design for an all-glass skyscraper attracted international attention, and he went on to create several such projects, none of them actually constructed. His reputation rests not only on his buildings and projects but also on his rationally based method of architectural education. His "skin and bones" philosophy of architecture is summed up in his famous phrase "less is more".
Vocabulary
available – доступный; имеющийся в распоряжении, наличный to depart – уклоняться, отступать
encompass – охватывать, включать, to enrage – разъярять
exuberant – яркий, цветистый, пышный (о стиле и т. п.) flowing - текущий, струящийся; мягкий (о линиях, контуре) imaginative – творческий, оригинальный, образный implication – подтекст; смысл
integrity – прямота, чистота
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legacy – наследие
notable - выдающийся, известный
pioneer – первооткрыватель, основоположник
sleek – ровный, гладкий; отполированный, глянцевый, блестящий (о поверхности), обтекаемый
startling – изумительный, поразительный, потрясающий, удивительный steel – сталь
I. Answer the following questions:
1.When did the Modern architecture develop?
2.What famous architects of this period do you know?
3.Who was director of the famed Bauhaus in Germany?
4.What works of Le Corbusier can you name?
5.What other greatest 20th century architects and designers do you know?
II. Fill in the gaps with the words and expressions from the text:
1.Modern architecture originated in … .
2.Among notable early modern architectural projects are houses with flowing interior spaces and projecting roofs by the American pioneer of modernism, … .
3.As … of A. W. N. Pugin and John Ruskin, Charles Rennie Mackintosh believed in the superiority of Gothic over Classical architecture.
4.Over his long career Wright … a wide variety of structures, both public and private.
5.He adopted … Le Corbusier for his architectural work c. 1920 and for his paintings c. 1930.
6.Walter Gropius (1883-1969) occupied … of architecture at the Harvard University Graduate School of Design from 1938 to 1952.
7.Mies's philosophy of architecture is summed up in his famous phrase … .
III. a) Study these example situations:
The architect creates the orderly habitat.
Creative architects experiment with various shapes and materials.
I/we/you/they |
create/experiment/do |
he/she/it |
creates/experiments/does |
We use the Present simple to talk about things in general. We use it to say that something happens all the time or repeatedly, or that something is true in general.
We use do/does to make questions and negative sentences:
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b) Study these examples:
The architect created the orderly habitat.
Creative architects experimented with various shapes and materials.
Very often the Past simple ends in –ed (regular verbs): created, experimented But many verbs are irregular:
build – built go – went see – saw
In questions and negatives we use did/didn’t + infinitive:
I/we/you/they created he/she/it experimented
built
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c) Study these examples:
The architect will create the orderly habitat.
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Creative architects will experiment with various shapes and materials.
We use the Future simple when we decide to do something at the time of speaking.
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d) Put the verb into the correct form, present simple or past simple. Write sentences in question and negative form as shown in the example:
Gothic art had its origins in northern France.
Did Gothic art have its origins in northern France?
Gothic art didn’t have its origins in northern France.
1.Modern architecture … (to originate) in the United States and Europe.
2.Among notable early modern architectural projects … (to be) exuberant and richly decorated buildings in Glasgow, Scotland.
3.Charles Rennie Mackintosh … (to be) a designer in the Arts and Crafts movement.
4.Over his long career Wright … (to design) a wide variety of structures.
5.Le Corbusier … (to have) a major effect on the development of modern architecture.
6.Ludwig Mies van der Rohe’s reputation … (to rest) not only on his buildings and projects but also on his rationally based method of architectural education.
7.‘Many of the things that … (to seem) to be luxuries today will become the norm in the near future.’ - Walter Gropius said.
8.Born and educated in Germany, Walter Gropius … (to belong) to the select group of architects that massively influenced the international development of modern architecture.
e) Put the verb into the correct form using future simple. Write sentences in question and negative form as shown in the example:
The world … (to become) more urban.
The world will become more urban.
Will the world become more urban?
The world won’t become more urban.
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1.Strength, convenience and beauty … always (to determine) the quality of architecture.
2.The building … (to have) a complicated plan.
3.The town … (to be) comfortable and beautiful.
4.We … (to think) about the architecture of the 21st century.
IV. Put a question tag on the end of these sentences as shown in the example and translate them:
The rise of Postmodernism was attributed to disenchantment with Modern architecture.
The rise of Postmodernism was attributed to disenchantment with Modern architecture, wasn’t it?
1.Modern architecture is a set of building styles with similar characteristics.
2.This style evolved in a number of countries after the First World War.
3.Modern architecture was adopted by many influential architects and architectural educators.
4.Some historians see the evolution of Modern architecture as a social matter.
5.Around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities.
6.By the 1920s the most important figures in Modern architecture had established their reputations.
7.The character of a building will reflect its function.
8.The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical.
9.The forms of furniture of Modern architecture evolved from visually heavy to visually light.
10.A bad plan will never produce a good building.
11.The exact characteristics and origins of Modern architecture are still open to interpretation and debate.
12.There is debate as to when and why the decline of the modern movement occurred.
V. With your partner, make up the dialogue about the activity of Charles Rennie Mackintosh, Frank Lloyd Wright, Le Corbusier, Walter Gropius and Ludwig Mies van der Rohe using the information from the text and your knowledge on the subject.
UNIT 2
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Characteristics of Modern architecture.
Grammar: The Indefinite Active and Passive Tenses.
Read the text and speak about characteristics of modern architecture.
CHARACTERISTICS OF MODERN ARCHITECTURE
Modern architects reacted against the architecture of the 19th century, which they felt borrowed too heavily from the past. They found this architecture either oppressively bound to past styles or cloyingly picturesque and eclectic. As the 20th century began they believed it was necessary to invent an architecture that expressed the spirit of a new age and would surpass the styles, materials, and technologies of earlier architecture. This unifying purpose did not mean that their buildings would be similar in appearance, nor that architects would agree on other issues.
The aesthetics (artistic values) of modern architects differed radically. Some architects, enraptured by the powerful machines developed in the late 19th century, sought to devise an architecture that conveyed the sleekness and energy of a machine. Their aesthetic celebrated function in all forms of design, from household furnishings to massive ocean liners and the new flying machines. Other architects, however, found machine-like elegance inappropriate to architecture. They preferred an architecture that expressed, not the rationality of the machine, but the mystic powers of human emotion and spirit.
Modern architects also differed in their understanding of historical traditions. While some abandoned historical references altogether, others used careful references to the past to enhance the modernity of their designs. Italian architect Antonio Sant'Elia resoundingly rejected traditional architecture in his Futurist Manifesto of 1914 (Futurism). He called for each generation to build its houses anew and celebrated glass, steel, and concrete as the materials to make this possible. The modern designs of his countryman Giuseppe Terragni, on the other hand, referred explicitly to the past. Terragni’s Casa del Fascio (Fascist Party Headquarters, 1932-1936) in Como, Italy, featured an inner atrium for public assembly inspired by the courtyards of Italian Renaissance palaces, and windows laid out according to ancient Greek and Roman theories of ideal architectural proportions. Terragni saw tradition as providing ideal building blocks for a new architecture. But the building’s concrete and steel construction and its sleek, unornamented form expressed a thoroughly modern aesthetic.
In the United States Frank Lloyd Wright also rejected 19th-century European architecture. He attributed his new architectural concepts to educational building blocks he had played with as a child, to Japanese architecture, and to the prairie landscape on which many of his houses were built. Yet the fireplaces with adjacent seating that occupied a central position in his houses referred to the very distant past, when tending and maintaining a fire was essential for human survival. In Wright’s houses, few dividing walls separated rooms and one room seemed to
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flow into the next. Wright’s open design was extremely influential, and variations of it were used, not only for the houses of the wealthy, but for apartments and mid- dle-class homes in Europe and the United States.
Modern architecture also challenged traditional ideas about the types of structures suitable for architectural design. Important civic buildings, aristocratic palaces, churches, and public institutions had long been the mainstay of architectural practices, but modernist designers argued that architects should design all that was necessary for society, even the most humble buildings. They began to plan low-cost housing, railroad stations, factories, warehouses, and commercial spaces. In the first half of the 20th century many modernists produced housing as well as furniture, textiles, and wallpaper to create a totally designed domestic environment.
Vocabulary
adjacent – расположенный рядом, смежный, соседний (to)
bind (bound) - вязать; связывать; завязывать; зажимать; связывать; скреплять
challenge – ставить под сомнение, оспаривать
convey – сообщать, передавать (ощущения); выражать (мысль) enhance – увеличивать, усиливать, улучшать (обычно какое-л. положи-
тельное свойство)
enrapture – восхищать, приводить в восторг, восторгать; захватывать explicitly - явно, однозначно, недвусмысленно
furnishings - меблировка, меблирование, оборудование
humble - простой, скромный; небольшой (о достатке, имуществе) inappropriate - негодный, неподходящий, несоответствующий, неумест-
ный
influential – влиятельный, важный, обладающий властью, влиянием issue – выход; результат; проблема; задача; выпуск (продукции) ; изда-
ние (печатной продукции)
mainstay – главная поддержка, опора, оплот ocean liner - океанский лайнер
oppressively - жестоко, деспотически, тиранически; угнетающе; тягост-
но
prairie – прерия, степь
reference - ссылка (на кого-л. / что-л.); упоминание (о ком-л. / чём-л.) with reference to smb. / smth. — ссылаясь на кого-л. / что-л.
reject - отвергать, отклонять; отказываться (принять, рассматривать, обсуждать и т. п.)
resound - громко звучать, раздаваться; оглашаться seek (sought) - искать, разыскивать; пытаться найти sleekness - гладкость
surpass - опережать, перегонять; превосходить, превышать unify – объединять, соединять
warehouse - товарный склад; пакгауз
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