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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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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
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