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Đề Cambridge IELTS 14 Test 2 - passage 2:
BACK TO THE FUTURE OF SKYSCRAPER DESIGN
Answers to the problem of excessive electricity use by skyscrapers and large public buildings can be found in ingenious but forgotten architectural designs of the 19th and early-20th centuries
A. The Recovery of Natural Environments in Architecture by Professor Alan Short is the culmination of 30 years of research and award-winning green building design by Short and colleagues in Architecture, Engineering, Applied Maths and Earth Sciences at the University of Cambridge.
'The crisis in building design is already here,' said Short. 'Policy makers think you can solve energy and building problems with gadgets. You can't. As global temperatures continue to rise, we are going to continue to squander more and more energy on keeping our buildings mechanically cool until we have run out of capacity.'
B. Short is calling for a sweeping reinvention of how skyscrapers and major public buildings are designed - to end the reliance on sealed buildings which exist solely via the 'life support' system of vast air conditioning units.
Instead, he shows it is entirely possible to accommodate natural ventilation and cooling in large buildings by looking into the past, before the widespread introduction of air conditioning systems, which were 'relentlessly and aggressively marketed' by their inventors.
C. Short points out that to make most contemporary buildings habitable, they have to be sealed and air conditioned. The energy use and carbon emissions this generates is spectacular and largely unnecessary. Buildings in the West account for 40-50% of electricity usage, generating substantial carbon emissions, and the rest of the world is catching up at a frightening rate. Short regards glass, steel and air-conditioned skyscrapers as symbols of status, rather than practical ways of meeting our requirements.
D. Short's book highlights a developing and sophisticated art and science of ventilating buildings through the 19th and earlier-20th centuries, including the design of ingeniously ventilated hospitals. Of particular interest were those built to the designs of John Shaw Billings, including the first Johns Hopkins Hospital in the US city of Baltimore (1873-1889).
'We spent three years digitally modelling Billings' final designs,' says Short. 'We put pathogens• in the airstreams, modelled for someone with tuberculosis (TB) coughing in the wards and we found the ventilation systems in the room would have kept other patients safe from harm.
E. 'We discovered that 19th-century hospital wards could generate up to 24 air changes an hour-that's similar to the performance of a modern-day, computer-controlled operating theatre. We believe you could build wards based on these principles now.
Single rooms are not appropriate for all patients. Communal wards appropriate for certain patients - older people with dementia, for example - would work just as well in today's hospitals, at a fraction of the energy cost.'
Professor Short contends the mindset and skill-sets behind these designs have been completely lost, lamenting the disappearance of expertly designed theatres, opera houses, and other buildings where up to half the volume of the building was given over to ensuring everyone got fresh air.
F. Much of the ingenuity present in 19th-century hospital and building design was driven by a panicked public clamouring for buildings that could protect against what was thought to be the lethal threat of miasmas - toxic air that spread disease. Miasmas were feared as the principal agents of disease and epidemics for centuries, and were used to explain the spread of infection from the Middle Ages right through to the cholera outbreaks in London and Paris during the 1850s. Foul air, rather than germs, was believed to be the main driver of 'hospital fever', leading to disease and frequent death. The prosperous steered clear of hospitals.
While miasma theory has been long since disproved, Short has for the last 30 years advocated a return to some of the building design principles produced in its wake.
G. Today, huge amounts of a building's space and construction cost are given over to air conditioning. 'But I have designed and built a series of buildings over the past three decades which have tried to reinvent some of these ideas and then measure what happens. 'To go forward into our new low-energy, low-carbon future, we would be well advised to look back at design before our high-energy, high-carbon present appeared. What is surprising is what a rich legacy we have abandoned.'
H. Successful examples of Short's approach include the Queen's Building at De Montfort University in Leicester. Containing as many as 2,000 staff and students, the entire building is naturally ventilated, passively cooled and naturally lit, including the two largest auditoria, each seating more than 150 people. The award-winning building uses a fraction of the electricity of comparable buildings in the UK.
Short contends that glass skyscrapers in London and around the world will become a liability over the next 20 or 30 years if climate modelling predictions and energy price rises come to pass as expected.
I. He is convinced that sufficiently cooled skyscrapers using the natural environment can be produced in almost any climate. He and his team have worked on hybrid buildings in the harsh climates of Beijing and Chicago - built with natural ventilation assisted by back-up air conditioning - which, surprisingly perhaps, can be switched off more than half the time on milder days and during the spring and autumn.
“My book is a recipe book which looks at the past, how we got to where we are now, and how we might reimagine the cities, offices and homes of the future. There are compelling reasons to do this. The Department of Health says new hospitals should be naturally ventilated, but they are not. Maybe it’s time we changed our outlook.”
TỪ VỰNG CHÚ Ý:
Excessive (adj)/ɪkˈsesɪv/: quá mức
Skyscraper (n)/ˈskaɪskreɪpə(r)/: nhà trọc trời
Ingenious (adj)/ɪnˈdʒiːniəs/: khéo léo
Culmination (n) /ˌkʌlmɪˈneɪʃn/: điểm cao nhất
Crisis (n)/ˈkraɪsɪs/: khủng hoảng
Gadget (n)/ˈɡædʒɪt/: công cụ
Squander (v)/ˈskwɒndə(r)/: lãng phí
Reliance (n)/rɪˈlaɪəns/: sự tín nhiệm
Vast (adj)/vɑːst/: rộng lớn
Accommodate (v)/əˈkɒmədeɪt/: cung cấp
Ventilation (n)/ˌventɪˈleɪʃn/: sự thông gió
Habitable (adj)/ˈhæbɪtəbl/: có thể ở được
Spectacular (adj)/spekˈtækjələ(r)/: ngoạn mục, đẹp mắt
Account for /əˈkaʊnt//fə(r)/ : chiếm
Substantial (adj)/səbˈstænʃl/: đáng kể
Frightening (adj)/ˈfraɪtnɪŋ/: kinh khủng
Sophisticated (adj)/səˈfɪstɪkeɪtɪd/: phức tạp
Pathogen (n)/ˈpæθədʒən/: mầm bệnh
Tuberculosis (n)/tjuːˌbɜːkjuˈləʊsɪs/: bệnh lao
Communal (adj)/kəˈmjuːnl/: công cộng
Dementia (n)/dɪˈmenʃə/: chứng mất trí
Fraction (n)/ˈfrækʃn/: phần nhỏ
Lament (v)/ləˈment/: xót xa
Panicked (adj): hoảng loạn
Lethal (adj)/ˈliːθl/: gây chết người
Threat (n)/θret/: mối nguy
Miasmas (n)/miˈæzmə/: khí độc
Infection (n) /ɪnˈfekt/: sự nhiễm trùng
Cholera (n)/ˈkɒl.ər.ə/: dịch tả
Outbreak (n)/ˈaʊt.breɪk/: sự bùng nổ
Disprove (v)/dɪˈspruːv/: bác bỏ
Advocate (v)/ˈæd.və.keɪt/: ủng hộ
Auditoria (n)/ˌɔːdɪˈtɔːriə/ : thính phòng
Comparable (adj)/ˈkɒm.pər.ə.bəl/: có thể so sánh được
Contend (v) /kənˈtend/: cho rằng
Liability (n)/ˌlaɪ.əˈbɪl.ə.ti/: nghĩa vụ pháp lý
Convince (v) /kənˈvɪns/: Thuyết phục
Assist (v) /əˈsɪst/: để giúp đỡ
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同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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Fabrice Fouillet,
Sony世界大賽2013年職業組建築類第一名,專訪,以及他的個人網站 Project : Corpus Christi
Fabrice Fouillet is a French professional photographer based in Paris. In 2013 he won the Professional Architecture category of the Sony World Photography Awards. After earning a degree in Sociology and Ethnology, he studied Photography at The Gobelins School. Since 2004, he has been collaborating with advertising agencies and magazines focusing on Still Life and Architecture.
His personal photographic research explores the notion of identity and the close relationship between humans and the environment. Recognised for his series on new places of worship and resemblance in the 2013 Sony World Photography Awards Open Architecture category, he has gained recognition internationally.
Hi Fabrice. Tell us more about yourself - When and why did you first approach photography?
I believe my passion for photography comes from my high school studies. With courses about European cinema and art-house movies I became more sensible and passionate about themes and images in a deeper and broader sense. Then, I approached photography with a small and old camera, making basic shoots of things all around me. From my house to garden, flowers, trees, and landscape, everything became my subject and I felt I was very serious about it. At the age of 20 it appeared to me a natural thing to try and make it professionally.
Have your previous studies in sociology and ethnology influenced your investigation of space?
The education you receive at a young age influences the rest of your life and I would say that my studies not only influenced the investigation of space, but the overall way I think about my projects. At beginning, I was focusing more on still life projects while now environment and social identity interest me more and more as in the ‘Colosses’ and ‘Eurasism’ series.
Do you have a photographic philosophy?
Be truthful to your own desires and emotions for each project you make. This is my photographic philosophy as finding your own artistic path is not such an easy thing. To me the best way is to remain faithful to your passions, be inspired but not too influenced. Precision, determination, rigor, and hard work are unavoidable in photography and they also form part of my philosophy.
With your winning series ‘Corpus Christi’, capturing new spaces of worship, architecture became a way to narrate humanity and its relationship with minimalism and aestheticism. Why did you choose this theme?
I have always found a graphic quality in religious imagery and particularly in catholic iconography. As an architecture devourer, this was the starting point for this project urging me to look for evidence, confront the classical with contemporary spaces of worship, and a way to take fascinating pictures. Somehow it called me out. I saw aesthetic mystery beyond the often cold, austere and classical representation with a firm anachronism between traditional iconography and modern architecture. In ‘Corpus Christi’ I wanted to highlight this rupture between classical imagery and modern religious architecture.
You won the 2013 #SWPA Professional Architecture category. Where did this take your photography?
Being a 2013 Sony World Photography Awards winner has been a great career step forward and it helped me to span my work, gaining a lot of visibility, interviews and press coverage in France and worldwide. Thanks to the awards, The New York Times Magazine & other media companies have contacted me for architecture commissions. It was a huge satisfaction and encouraged me continue with the art and subjects I am passionate about.
What would you suggest to young photographers aspiring to make create architectural photography?
To push the button can be easy and fast, but architectural photography - and photography in general, requires strong determination. Firstly, remember that between subjects and projects there’s half of the sea. So think carefully about what and how you want to proceed. Then, be precise and rigorous, chase the light and work the frame of course. Sometimes, wait for the good moment. Try again or come back if necessary. Push the limit and don't give up even if discouragement is knocking at the door.
Talking about your new project ‘World’s Tallest Statues’ you recently stated: “I was intrigued by the human need to build these immense shrines to power”. Could you tell us more about it and how you came across this subject?
Indeed, I have just mentioned the importance of determination and these gigantic statues are the perfect example. They symbolise the strong human desire of remembrance and commemoration directly related to the size of the monument. With this project I wanted to investigate the deepest meaning of both ‘symbol’ and ‘cult of personality’ as I have always been fascinated about how historical heroes, leaders or politicians were celebrated or idealised with monumental structures for the sake of collective remembrance.
Research led me to discover lots of monument or statues dedicated to Lenin, Stalin or Mao but despite their cultural and social meaningfulness they were not that big. As the documentation went on, I unexpectedly came across the picture of a huge white statue located in the middle of Dai Kannon, in Sendai, Japan. Sadly, the picture had no caption so I first thought it was unreal, but when I had the proof of its existence, I immediately felt that these huge statues were what I wanted to talk about.
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2016年的第一個展覽在美國LA. / LAM GALLERY
"Across the Pacific" 台灣藝術家展~LAM GALLERY~LA.
展出藝術家:王建揚,許唐瑋,范姜明道,葉怡利,蘇子涵
"Across the Pacific"January 16 - February 27, 2016
Artist Talk: January 16, 2016, 4-5 pm, moderated by SCARLET CHENG
Opening Reception: January 16, 2016, 5-8 pm
Artist: Chien-Yang Wang,Minto Fang,Tang-Wei Hsu,Tsu-Han Su,Yi-li Yeh,.
LAM GALLERY
913 Highland Ave, Los Angeles, CA 90038
TEL (323) 498‐5977
http://www.lamgalleryla.com/
"Across the Pacific"
Los Angeles, CA. LAM Gallery is pleased to feature five exciting Taiwanese artists, based in Taiwan, China, and New York -- most of whom are having their first gallery show in California. “Across the Pacific” showcases the work of veteran sculptor Marvin Minto Fang, as well as mid-career and emerging artists Tang-Wei Hsu, Tsu-Han Su, Yi-li Yeh, and Chien-Yang Wang.
For many this show will be an eye-opener. While the work of Chinese avant-garde artists such as Ai Wei Wei and Cai Guoqiang have become internationally famous, work by Taiwanese artists is less familiar. Taiwan artists took the plunge into contemporary art well before mainland China, since Taiwan has long been a more open society, especially after the end of martial law in 1987. Culturally, Taiwan has been strongly influenced both by the United States, which helped guide it through the post-war era in the 1950s and 1960s, and by Japan. Japan ran the island as a colony for 50 years (1895–1945), and the “Japanese miracle” of the postwar era made Japan the Asian country to emulate.
So it is not surprising that a number of the artists take their cues from pop culture and consumer culture, and are keenly aware of current trends in photography, video, and installation in Japan and the West. Artist Yi-Li Yeh, for example, makes wry commentary on contemporary culture – in her photographs and videos, her exaggerations point out how culture can be both seductive and ludicrous. In “Kuso-pink in Monet’s Garden” she uses live action – a person dressed up as a cartoonish virus – playing in Monet’s Garden in Giverny, France, combined with computer generated effects. As she has said, “I feel the virus world is the best interpretation of the relationship between life and art creating.” “Kuso,” she explains, is a Japanese swear word, but in the Japanese internet world it refers to “a type of kitsch culture and often against mainstream value.”