Forms and functions of architecture

Before-Reading

1. Discuss the following:

* What do you know about a work of a real architect?

* What do you think about the value of true architecture?

* What forms of architecture do you know?

* There are some who claim that architecture is not a fine art at all. Do you agree or disagree?

2. Try to guess the meaning of the following words. Use the dictionary if you need:

* value of true architecture

* physical structure

* variations of plane, colour, shade

* escalator

* elevator

* hall

* corridor

* human activities

* to create a work of architecture

* adequate structure

* civilization

* decorative elements

* drawing

* design

* actual building

While-Reading

1. Read the text and find new words from the text.

2. Read the text again and translate the first paragraph:

First of all, the value of true architecture lies in the direct effect of the structure itself. It depends on many reasons. One of them is a drawing. Drawings are works of architecture. An architect uses drawings to achieve his objective. In fact, drawings can represent buildings only on paper. It is called "paper architecture". We mean the result of architect's thinking of drawings. But, there is a danger of "paper architecture". The architect mustn't forget that many elements which look well on a drawing may be either completely ineffective or definitely harmful in the actual building. For example, it is electric architecture. Electric buildings are full of decorative elements which look well on the drawing. Perhaps even seem necessary on the drawing. But in the actual buildings they are completely meaningless. An architect is able to see variations of a plan, of color and a shade. Each of these variations is due to the effects of light on the building materials employed. The architect must always study each detail from the viewpoints of both use and appearance as well as from that of construction. He must not see it as an isolated detail but as an individual note in a great composition. A work of an architect exists only when it stands a complete, concrete object for all to see or to use.

The architect must project an integration of the whole in order to create a work of architecture. He must remember about the architect's alphabet. Knowledge of this alphabet is as essential to him as knowledge of words to the writer or of notes to the musician. The letters of the architect's alphabet are such elements as walls and openings, supports and ceilings, enclosed areas or rooms. We enter the building and our attention meets the same complexity of elements. They are doors to allow ingress and egress; windows to admit light and air; walls for shelter or support; roofs to keep out the rain, snow, cold, and sometimes sun. A partition separates space from space. There may be stairs, escalators, or elevators to allow progress from level to level and halls or corridors to permit easy circulators from part to part. Finally there may be all sorts of interior spaces for definite human activities — rooms both public and private — to take care of the varying functions of human living. No building can exist without some of them.

Any true architectural design is no mere fantasy, no unreal dream. It contemplates an actual building. There must be adequate structure for a building to exist. Then we observe the physical structure of a building outside. Next, "strength" becomes the second necessity for the construction. A true construction must stand up solidly.

Finally, mankind has always realized that buildings to be complete must have not only "convenience" and "strength", but also "beauty". Some people think that architecture is not a fine art at all. For such people the world of fine arts is something entirely set apart from ordinary living and that its single purpose should be satisfying of physical necessities. At the same time architecture is a matter of pictures or sculpture, poems or music. The architect has the task of being an artist as well as an inventive engineer. The expression of the purpose of buildings would seem to call for additional thought on this point. The emotions are evoked by beauty. It may be theaters, churches, dwellings and buildings, which always differ from one another. Yet a separate consideration of an individual building is a very real artificial sense.

3. Read the text again and find the main idea of each paragraph.

5. Read the text again and complete the following sentences:

* The value of true architecture...

*...must always study each detail...

* We enter the building...

*...on the building materials employed.

* A knowledge of this alphabet...

*...must be a true...

*...as things in themselves.

*...uses drawings to achieve...

* The danger of...

*...to point out...

*...in the actual building.

* Paper architecture...

*...is the result of thinking...

*...they are completely meaningless.

* A valid criticism against...

6. Read the following statements and say whether they are true or
false. Correct the false statements:

* The value of true architecture lies in the direct effect of the structure itself.

* Inside we observe the physical structure.

*. МОДАЛЬНЫЕ ГЛАГОЛЫ CAN, MAY, MUSTVI ИХ ЭКВИВАЛЕНТЫ

* Модальные глаголы обозначают не само действие, а указыва­ют на отношение к нему говорящего. Модальные глаголы выра­жают способность, возможность, допустимость, вероятность дей­ствия, обозначенного последующим инфинитивом.

* Модальные глаголы употребляются только в сочетании с ин­финитивом смыслового глагола без частицы to. Эти глаголы час­то называются недостаточными, так как они:

* 1. Не имеют неличных форм инфинитива, причастия, герундия.

* 2. Не изменяются ни по ЛИЦАМ, пи по числам (не имеют окон­чания в 3-м лице ед. числа):

* Не can do it him self. Он может сделать это сам.

* 3. Образуют вопросительную форму путем постановки глаголов can, must или may перед подлежащим, а отрицательную форму — путем добавления отрицания not после модального глагола:

* Can you play tennis? Вы умеете играть в теннис?

* Must I translate this article? Мне нужно переводить эту статью?

* You must tell me the truth. Ты должен сказать мне правду.

* Примечание. Поскольку отрицательная форма глагола must употребляется только для выражения запрещения, для того чтобы передать значение отсутствия необходимости (не нужно, не надо, не должен) употребляется модальный глагол need в отрицательной форме – need n't. Ср.:

* You mustn't light fires here. Вы не должны (вам запрещено)

* Разжигать здесь огонь.
Must I translate these sentences? - No, Нужно ли мне переводить эти
you need n't. предложения? - Нет, не нужно.

* 4. Сап и may имеют формы прошедшего времени (could и might); глагол must имеет только одну форму.

* Наряду с модальными глаголами can, may, must для выраже­ния долженствования, допустимости, способности или возмож­ности совершения действия используется ряд других глаголов, которые употребляются как наряду с модальными глаголами, так и вместо недостающих форм этих глаголов.

* Выражение долженствования

* Долженствование может быть выражено:

* 1) глаголом must + инфинитив без частицы to в настоящем времени во всех лицах:

* I must leave at once. Я должен уехать немедленно.

* 2) to have + инфинитив с частицей to в настоящем, прошедшем и будущем времени.

* То have to выражает долженствование, вытекающее из внеш­них условий, и часто переводится на русский язык глаголом при­ходится, пришлось и т.д.:

* I had to work hard to pass my Я должен был (мне пришлось)
examination. много работать, чтобы сдать

* экзамен.

* 3) to be + инфинитив с частицей to в настоящем и прошедшем времени.

* То be to означает долженствование, вытекающее из предвари­тельной договоренности или плана:

* We were to inspect the new Мы должны были тщательно
samples. осмотреть новые образцы.

* 4) should выражает моральный долг или совет:

* You should go and see him Вы должны (вам следует) на-
tomorrow вестить его завтра.

* Выражение способности или возможности совершения действия

* Это значение может быть выражено:

* 1) глаголом сап + инфинитив без частицы to (настоящее время) или could + инфинитив без частицы to (прошедшее время):

* I can play tennis. Я могу (умею) играть в теннис.

* Не could help you. Он мог (бы) помочь вам.

* 2) выражением to be able + инфинитив с частицей to (все вре­
мена):

* We'll be able to see each other very Мы сможем часто видеться.

* often.
Не was able to help me. Он сумел (ему удалось) помочь

* мне.

* Выражение разрешения совершить действие

* Это значение может быть выражено:

* 1) глаголом may + инфинитив без частицы to или might + инфинитив без частицы to. May и might относят действия к настоящему или будущему:

* You may come here every day. Вы можете приходить сюда

* каждый день.
Do you think it'll snow? - Yes, it Ты думаешь, будет снег? - Да,
may/might. возможно (вероятно).

* 2) to be allowed + инфинитив с частицей to, может быть использовано в настоящем, прошедшем и будущем времени:

* Не was allowed to borrow books Ему разрешили (позволили)
from the University library брать книги из университетской библиотеки.

* Сводная таблица модальных глаголов и их эквивалентов

*

	Present	Past	Future
Долженствование	I must meet him. I have to meet him. I am to meet him. I should meet him.	I had to meet him. I was to meet him.	I shall have to meet him.
Способность или возможность совершения действия	He can help you. He is able to help you.	He could help you. He was able to help you.	He will be able to help you.
Разрешение или возможность (вероятность)	I may use this device. [ am allowed to use the device.	I was allowed to use the device.	I shall be allowed to use the device.

Unit8

Дата добавления: 2014-10-15