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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
Các bạn cùng tham khảo nhé!
同時也有2部Youtube影片,追蹤數超過3萬的網紅POPA Channel,也在其Youtube影片中提到,在香港,有很多家長經常跟子女講英文,甚至由孩子一出世開始,便已急不及待的只講英文,一句廣東話也不說。務求令英語成為小朋友的母語,增強他們入學面試的勝算,令他們在競爭激烈的求學生涯裡,可以贏在起跑線。 但語言不單止是用來溝通,更是發展認知能力,學習邏輯思考、社交和情緒管理的重要工具,如果家長只用外語...
「university of baltimore」的推薦目錄:
university of baltimore 在 BennyLeung.com Facebook 的最佳貼文
【BBC中文網】有沒有放之四海而皆凖的美?
在另一個時代,你會不會是一個美女?大衛·羅伯森(David Robson)發現,吸引力的易變性和主觀性遠遠超乎我們的想象。
比常人大一號的喜劇演員唐·弗蘭奇(Dawn French)不大可能稱自己為性感尤物,難道她只不過是生不逢時嗎?「如果我生在畫家魯賓斯(Rubens)的時代,我會被奉為模特界的女神,」她曾經自嘲說,「凱特·摩絲(Kate Moss)?嗯哼,她就是普通的路人甲了。」
弗蘭奇可能是在說笑,但她的所闡述的觀點卻值得嚴肅認真對待。審美標凖會隨時代變化而變遷嗎?亦或是有一些特徵,即使在不同年代和不同的文化背景下,仍被普遍公認為具有普適性的吸引力?
進化論上甚至有一些合理的推論解釋了為什麼美可能是永恆的。生物的某些特徵可能標誌著健康、健美和生育力強——理想伴侶所不可或缺的素質——而我們可能發現這些特徵散發著性吸引力。然而,生物學家和心理學家探究得越多,就越覺得難以找到美的純生物學基礎。
平時大家普遍認可的審美標凖中,我們顯然更喜歡勻稱、均衡的容貌,科學上的解釋似乎有點道理:孩童時代的疾病和壓力可以潛移默化地影響身體的發育,引發一種「失衡」,從而使得一側生長得與另一側略有不同。因此,面部長相上些微的不對稱可能象徵著其人身體的虛弱——使他們不像自己的父/母那樣清秀動人。
而問題在於之前的許多實驗僅僅覆蓋了一小部分的被試者——從而使僥倖出現的結果更容易變得顯著。當安特衛普大學(University of Antwerp)的斯蒂芬·範·唐元(Stefan Van Dongen)在一項工程浩大的薈萃分析中對以往結果進行合併研究,發現當你的樣本量足夠大的時候,這種效應幾乎消失了。事實上,面部勻稱很可能並沒有透露出關於你身體健康的多少信息:一項2014年的研究對5000名青少年進行三維掃描,並對他們的醫療病史進行測試,發現那些容貌最為勻稱標緻的人並不比其他人更健康。
生物學家還曾假設,我們更喜歡象徵著「男子氣概」的男性面容或體現了「女性特質」的女子面容:男人要有喬·哈姆(Jon Hamm)的寬下巴;女人要有米蘭達·可兒(Miranda Kerr)精緻的面容。基本原理又一次看似合理:骨骼構造反映出在我們血液中跳動奔湧的性激素的水平,所以正像它們可以反映出一個男性的優勢地位一樣,它們也昭示著一個女性的生育能力與性格特質——挑選配偶時的重要考慮因素。
然而,大部分的研究僅僅調查了西方社會。當布魯內爾大學(Brunel University)的伊莎貝爾·斯科特(Isabel Scott)和他的同事們決定擴大樣本範圍時——覆蓋了來自亞洲、非洲、南美洲和俄羅斯的社區團體,它們發現了多元化的偏好。他們發現,實際上,只有在城市化程度最高的地區,較為陽剛的男性和較為陰柔的女性才對異性呈現出強烈的吸引力;而在規模更小、更偏遠的社區群落中,許多女性其實更喜歡長相「陰柔清秀」的男子。
身體形態同理。在西方,人們稱道女性的長腿,卻不那麼喜歡「瘦骨嶙峋的男人」。然而,在納米比亞(Namibia)的遊牧部落辛巴族(Himba)的社會裏,品味剛好相反。其實,西方人的偏好似乎也隨著時代變化而變遷;甚至波提切利(Botticelli)的維納斯(Venus)——一度身為西方美女的典範——長著相較於身體格外短小的雙腿,與如今對模特外形的要求相去甚遠。而即使是沙漏型身材的女子和長著V型寬肩和窄腰的男子也在許多地方為人欣賞。所以,人們理想中的完美形象因社會環境而異。
也許,我們需要具有靈活性的擇偶觀,以便我們可以在當前的環境下選擇最佳的配偶。
「比如說,在面臨饑荒威脅的地方,對分量較重的配偶的偏好是可以預期的,因為這樣的人對食物短缺具有最強的耐受力,」斯特靈大學(University of Stirling)的安東尼·裏特(Anthony Little)說道——而實際上,情況似乎確實是這樣。出於同樣的原因,相較於那些不太容易感染疾病的人,面臨著更高患病風險的人更容易重視象徵著身體健康的標誌——像面部勻稱。在強權備受推崇的地區,人們同時更喜歡長著方形下巴的男子。「比如說,我們發現女人親身受到男性間較量的刺激,例如親眼目睹男人們打架,會對陽剛的男性面容的有更深喜愛,」他說。
所以,儘管美貌似乎是虛無縹緲的,但是我們幾乎可以肯定它就是環境的產物。一致性的影響同樣值得我們注意:層出不窮的研究都已表明,如果你聽說或者看到別人被其它人的外貌所吸引,那麼你就極有可能將後者想象成自己。通過這種方式,對某種類型的外貌的認可就會在人群中傳播開來,從而改變我們對美貌的認識。
「這個過程的好處是,你不需要去了解每一樣事物,僅僅從其他人的經歷中你就能了解到一切,」裏特表示:「有趣的是,在現代社會中,社交媒體使得這種了解的過程得以在全球的範圍內進行。」
來自巴爾的摩(Baltimore)的約翰霍普金斯凱瑞商學院(Johns Hopkins Carey Business School)的科研人員最近進行了一項實驗。他們利用一個交友網站,讓實驗對象隨機地評估這個網站上的人的相貌。在他們給出評分後,讓其中一部分實驗對象看到其他的網站訪客所給出的平均分數。儘管這裏並不存在對錯之分,這些實驗對象仍然很快地認識到什麼樣的人會更受大家歡迎,並在對其他面孔評分時給出與平均分相近的分數。很快,所有人的品位就趨於一致——僅僅通過一個網站,他們的審美就已經發生了偏移。這還是發生在所有人都匿名參與的情況下——這種時候,維持現狀並不能使人們獲益。
我們很容易想象出是某些名人從這種從眾行為中受益。在一個較小的範圍內,你可以很輕易地通過與你可能與之結合的人走在一起而獲得類似的效應,例如與異性在一起。其他的人會以為你已經取得了成功,並開始模仿你的舉止。
我們的吸引力同樣受到熟悉度的左右:人們看到你的某種樣子的時候越多,它就越具有吸引力。在一個整形手術變得越發司空見慣的時代,這為我們帶來了一個重要的啟示。與其改變你那不同尋常的臉來迎合當下的時尚,你還不如用你的相貌來改變時尚潮流。
#藝術
university of baltimore 在 通勤學英語 Facebook 的最佳貼文
【#每日跟讀單元 680】最新研究顯示 廢氣汙染可能引起退化性眼疾
摘要:
The new research is interesting but “it is a longitudinal observational study and can only show an association but not prove a cause-effect relationship,” said Dr. Fernando Arevalo, a professor of ophthalmology at the Johns Hopkins University School of Medicine and chairman of ophthalmology at the Johns Hopkins Bayview Medical Center, both in Baltimore, Maryland. “AMD is multifactorial and many genetic as well as environmental factors play a role in its development and that may confound the results. Further studies are needed.”
約翰‧霍普金斯大學醫學院的眼科學教授費南多‧阿雷瓦洛,是同樣位於馬里蘭州巴爾的摩的約翰‧霍普金斯海灣區醫療中心的眼科主任,他認為這項新研究很有意思,然而「這是一項縱貫性觀察型研究,只能夠顯示關聯,並無法證明因果關係。」阿雷瓦洛醫師解釋說:「老年性黃斑部退化是由多重因素造成,許多遺傳和環境因素都會參與此疾病的發展,可能會混淆結果。我們還需要進一步的研究。」
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university of baltimore 在 POPA Channel Youtube 的最佳解答
在香港,有很多家長經常跟子女講英文,甚至由孩子一出世開始,便已急不及待的只講英文,一句廣東話也不說。務求令英語成為小朋友的母語,增強他們入學面試的勝算,令他們在競爭激烈的求學生涯裡,可以贏在起跑線。
但語言不單止是用來溝通,更是發展認知能力,學習邏輯思考、社交和情緒管理的重要工具,如果家長只用外語跟子女溝通,放棄自己的母語,對小朋友會有甚麼影響?
美國堪薩斯大學兩位專攻兒童語言發展的科學家,於80年代做了一個實驗,研究0至3歲的語言環境,對幼兒將來的智力發展以及學習能力會有甚麼影響。
參考資料
Hart, B., & Risley, T. (1995). Meaningful differences in the everyday experience of young American children. Baltimore: P.H. Brookes.
university of baltimore 在 Sandra Tavali李婉菁 Youtube 的最佳貼文
Computer Music Ensemble: for Black metal vocal, Prepared piano, Real time sound processing.
Composer: Ivan Voinov, Sandra Li, Cvo Yang, Bruce Wang
Sound engineer: Cvo Yang, Bruce Wang
Metal Vocal: Chi Yue
Prepared Piano: Sandra Li
Premiere Production: Body Phase Studio, Guling Avant-Garde theatre, Taipei, TAIWAN, 2014.4.26
About the work:
Dirge is a prepared piano piece that is processed through electronics and fused with a harsh vocal speaking the poem "Dirge" by Shakespeare. "Dirge" is written about death from the perspective of the dying. The meditative, dark sound interlaced with complex piano melodies and rhythms creates a perfect, romantic atmosphere around the aspect of death. The harsh vocal can be interpreted as the cries of a crow, traditionally a messenger of death.
Dirge (134)
William Shakespeare
COME away, come away, death,
And in sad cypres let me be laid;
Fly away, fly away, breath;
I am slain by a fair cruel maid.
My shroud of white, stuck all with yew,
O prepare it!
My part of death, no one so true
Did share it.
Not a flower, not a flower sweet,
On my black coffin let there be strown;
Not a friend, not a friend greet
My poor corse, where my bones shall be thrown:
A thousand thousand sighs to save,
Lay me, O, where
Sad true lover never find my grave
To weep there!
About the composers:
Ivan Voinov is a first generation Russian living in America, where he has grown up, maintaining strong cultural ties back to his ethnic Russian roots, which can easily be heard in his music. During the later years if his high school career, he became successful as an ensemble composer, having several of his pieces performed across his home state, Vermont, and appeared on the radio for interviews on two occasions. Ivan is now studying computer music and recording rats major at Peabody conservatory, studying under Dr. Geoffrey Wright, where he is exploring the rich depths of sounds and capabilities and control pertaining to the field of electronic music.
Sandra Li, of the Siraya people, is a former keyboardist of the classical ensemble "Indulge" and the well-know metal band "Chthonic". Her musical works crossover between classical and fine art, film and documentaries. She is the composer for the TV documentary "Unknown Taiwan" produced by the Discovery Channel. Also, she was the artistic director of the musical "Dark Baroque”. Ms. Li earned the Master of Music degree in Computer Music from the Peabody Conservatory of the Johns Hopkins University in Baltimore, Maryland, U.S.A., where she studied Computer Music with Dr. Geoffrey Wright.
輓歌
威廉莎士比亞
無常爾來矣﹐置我於柩床。一息已云絕﹐殺我乃姣娘。
麻絰及紫杉﹐速備慎毋忘。無人愛我深﹐乃肯殉我亡。
竟無一好花﹐撒余靈柩旁。竟無一良朋﹐弔余埋骨場。
不須為余泣﹐葬余在遐荒。親友無覓處﹐免其徒哀傷。
《輓歌》是為預先設置的鋼琴,現場即時聲響效果控制,與金屬黑死腔演場所創作的作品。人聲的部分所吟唱的是莎士比亞的詩作 "輓歌"。這首詩所描寫的角度,是從一個渴望垂死的靈魂,面對生命中無法抗拒的凋落。企圖利用鋼琴複雜的旋律與節奏營造出一種完美浪漫的死亡氛圍,暴烈的人聲比喻為烏鴉的哭聲,代表死亡的傳統使者。
Ivan Voinov 來自俄羅斯,成長過程中大部分居住在美國。在他的作品中,充分展現了俄羅斯的民族意識與風格。就讀高中時,已經展露在室內樂作品的創作能量,樂曲曾發表於 俄羅斯,佛蒙特州,與電台相關專訪。目前就讀於約翰霍普金斯琵琶地音樂院電腦音樂系,主修作曲,雙修錄音藝術。師從 Dr. Geoffrey Wright。創作特色專注於聲音的探索以及有關電子音樂現場控制的深入研究。
汪戊全,來自台灣台北,2013年畢業於臺北科技大學互動媒體設計研究所,目前嘗試以手作的細膩態度融入互動媒體設計的謹慎思考,共同創造出述說新形態故事溫暖人心的價值。
楊政,來自臺灣,畢業於實踐大學服裝設計系,在組樂團的過程中受到身邊不同藝術形式的人啟發試著追求無法明確定義的表演形式。曾經重新定義縫紉機的聲音的意義,在各地做過演出,同時於2013年在牯嶺街小劇場手作工作坊演出。
李婉菁 Sandra Tavali,西拉雅人,前indulge , 閃靈樂團鍵盤手; Discovery Channel 「謎樣台灣」配樂,音樂劇「黑暗巴洛克」音樂總監。作品常為跨界藝術、電影、紀錄片配樂等。約翰霍普金斯琵琶地音樂院電腦音樂研究所畢業,師從 Dr. Geoffrey Wright。