A.

MODEL MAKING
B. MODAL VERBS
C. ING &INFINITIVE
D. OFFICE
BUILDINGS
D. FURTHER
TRANSLATION
PRACTICE

A. Choose from the box alternatives to the highlighted words in the following text,
and then discuss it using verbal expressions related to skills; possibilities;
probabilities; logical deduction. Some are underlined in the text.

What Students Need to Know About Architectural Model

Making
pointless job
fiddly; risky
right away
evade; pass up
a sample of the
If you're in or going to be in an architectural program at project
your local college or university, model making is going to target; object;
be an important part of your education. There's a pretty sloppy; purpose
to handle;
good chance you'll have to do it with extremely limited find the appropriate
time and resources, as well. That can be very tricky. Let's solution
to select
take a look at some of the most common problems people
run into when they produce an architectural model, and
what you can do to avoid them. You can save a lot of
wasted effort and time if you just know what to do
beforehand.

The first step in making an architectural model is to plan

well. You need a clear goal, you need to know what the
purpose and meaning of your model is, and you have to
decide what you're going to focus on. Almost no one has
the money or time to make a model that tells everything about the proposed project, after all.
This is why you'll need to choose a particular aspect of the design to focus on in the model.
For instance, buildings should use a model that shows the form, layout, and context of the
building. That allows your viewers to understand the project instantly. Discuss details like
materials and colours using swatches, photos, and drawings, instead of trying to include them
in the model.

This isn't the only approach you can take, however. Some people choose to use the drawings
and other supplementary materials to give the general idea of their projects, and use the
models to help viewers visualize specifics. You might make a model of very interesting parts
of the building, create a sectional model that shows room layout and organization of space, or
choose a model that will show a tiny segment of the building in great detail. It's all about the
goals that you have for your project and the best way to show them.

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Once you know what you want to demonstrate with your model, it's time to pick the right
scale. This will be affected by how much detail you want to show and how large the area you
want to model. For site context models and others that show a large area, scales as small as
1:1000 may be appropriate to keep the model from being too large to move around. Of course,
detail is often lost in a scale this small. If you want to show off the building without context, a
scale as large as 1:100 might be chosen, which will allow you to show details like balconies,
doors and windows. However, even this isn't large enough for lots of detail - scales as big as
1:50 and 1:20 are required for that. You'll generally need to show just part of the building in
this case.

You also have to be realistic about your resources. Think hard about the facilities, materials,
and time you have. You can't make the model show everything or you'll run out of time, fast.
Many students with well-developed model making skills get bad grades because they don't
bother finishing their models. It's hard to get the balance right, but it's usually better to use a
less ambitious model and do a really good presentation than it is to have a great model but a
slipshod presentation.

B. MODAL VERBS: REVIEW & PRACTICE

I. Presentation of CAN/COULD/BE ABLE TO

A. 1) Can - Could = Ability

2) Be Able to = Manage to do something

B. CAN is used to express “nowness”; it helps to convey the meaning of the following verbs
in Present: feel, see, hear, taste, remember, understand

C. CAN when it is either in Present or in Future refers to Possible Actions.

D. COULD HAVE (DONE) - the Past of COULD(DO) - refers to something we had the
Possibility to do but we did NOT do it.

E. CAN/COULD is used to ask for and give permission.

II. Tense Frame

Meaning Present Future Present Past Past

Perfect Perfect
Ability/Capa CAN I’ll be able I’ve been COULD Had been
city to* able to* able to*
-------- -------- -------- -------- -------- --------
Manage to I’m able I’ll be able I’ve been I was able to Had been
do to to able to -------- able to
-------- -------- -------- -------- COULD --------
Possibility CAN/ HAVE
COULD DONE

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III. Stop reading, let’s practise:

Part 1: This section includes examples of can/could used to show ability, capacity of doing
something. Fill the following spaces, using can for present, could for the past and shall/will
be able to for future, if the case may be.

1. ....you stand on your head?

I.....when I was at school but I..... now (second verb neg.)
2. When I’ve passed my driving test I........hire a car from our local garage.
3. At the end of the month the Post Office will send him an enormous telephone bill which
he...........pay. (neg.)
4. I......remember the address. (neg.)
5. When the fog lifts we........see where we are.
6. You’ve put too much in your rucksack; you never........carry all that.
7. When I was a child I ......understand adults, and now that I am an adult I.....understand
children. (neg.; neg.)
8. When you have taken your degree you ......put B.A. after your name?
9. Don’t try to look at all the pictures in the gallery. Otherwise, when you get home you
......remember any of them. (neg.)
10. When I first went to Spain I ......read Spanish but I ......speak it. (second verb neg.)
11. ........you type?
Yes, I......type but I ....do shorthand. (second verb neg.)
12. I’m locked in. I.......get out! (neg)
.....you squeeze between the bars ? (neg)
No! I.......; I’m too fat. (neg.)

Part 2 could and was able

In some of the following sentences either could or was able to could be used. In others only
was/were able is possible. Remember that was/were able to is used to show that you
manage to do something. Fill the spaces and put to where necessary before the infinitives:

13. He was very strong; he ........ ski all day and dance all night.
14. The car plunged into the river. The driver ..... get out but the passengers were drowned.
15. I was a long way from the stage. I........see all right but I ...... hear very well. (second verb
neg.)
16. We ... borrow umbrellas; so, we didn’t get wet.
17. .......you walk or did they have to carry you?
18. I had no key so I ...... lock the door. (neg.)
19. I knew the town so I ......advise him where to go.
20. When the garage had repaired our car we.......continue our journey.
21. At five years old he .......read quite well.
22. When I arrived everyone was asleep. Fortunately, I ......wake my sister and she let me in.
23. The swimmer was very tired but he.......reach the shore before he collapsed.
24. The police were suspicious at first but I ...... convince them that we were innocent.

Part 3
This section includes examples of could used for polite requests and as a conditional.

25. ........I speak to Mr Pitt, please?

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 I’m afraid he’s out at the moment.......you ring back later?
26. If you stood on my shoulders......you reach the top of the wall?
No, I’m afraid I.....(neg.)
27. If I sang ... you accompany me on the piano?
No, I....; I ......play the piano! (neg.; neg.)
28. If a letter comes for me ..... please forward it to this address?
29. She made the wall very high so that boys......climb over it. (neg.) – Clause of Purpose
30. They took his passport so that he .......leave the country. (neg.) – Clause of Purpose
31. ......you tell me the time, please?
I’m afraid I ...... I haven’t got a watch. (neg.)
32. If you had to, ......you go without food for a week?
I suppose I..... if I had plenty of water.
33. ......you lend me £5?
No, I.........(neg).
34. They used to chain valuable books to library desks so that people........take them away.
(neg.) Clause of Purpose
35. He says that he saw Clementine drowning but .......help her as he.......swim. (neg., neg.)
36. If you had had the right tools......you have repaired the engine?

II. Presentation of MAY -- May Be; Might Be Doing Something; Might Do

May Have (Done); Might Have (Done)
MAY – a stronger possibility
MIGHT - a weaker possibility

MUST-- Must Be; Must Be Doing; Must Have (Done); Have To; Needn’t do; Need to

1. MAY : Possibility; it can be replaced with be allowed to

Tenses:

VERB PRESENT PAST FUTURE

SIMPLE/CONT. SIMPLE/CONT.
MAY BE/MAY DO YES NO only MAY/MIGHT
DO
MIGHT BE DOING YES NO Yes
SOMETHING
MAY HAVE(DONE) NO YES NO
MIGHT
HAVE(DONE) NO YES NO
MIGHT HAVE
BEEN DOING NO YES NO

EXAMPLES:
• He may be in his office (= perhaps he is in his office)
• He might be having lunch (= perhaps he is having lunch)
• He might know all about it (=perhaps he knows all about it)
• There may/might not be a meeting on Friday.
• Don’t call me at 8:30. I may/might be watching the football match.

4
• She didn’t answer the bell. She may have been asleep (=perhaps she was asleep).
• I can’t find my bag anywhere. You might have left it in the store.
• Why didn’t he say hello when he passed us on the street?
He might have been daydreaming.

May/Might As Well : we should do something but only because there is no reason not to
do it and because there is nothing better to do:

• We may as well go to the party. We have nothing else to do.

• You’ll have to wait for the next bus, so you might as well walk.

May: Permission (To Be Allowed to)

Tenses: - Present: I may ( = asking/giving permission): May I come in? Yes, you may.
You may even smoke here if you like.
- Past: I might (asking/giving permission): He asked if he might use your
typewriter.
- Future: He’ll be allowed to give the speech only next week.

2: MUST= Certainty; Absence of Obligation or Necessity

Tenses frame:

VERB PRESENT S. PRESENT C. PAST S. PAST C.

Must Be Yes - - -
Must be doing - Yes - -
Must have done Yes -
- -
Must have been - - - Yes
doing
Need; need to Yes - Yes

EXAMPLES

• You must be tired = I am sure that you are tired

• He can’t be sleeping. He must be playing tennis.

• He must have left London (otherwise he should have come) = (positive) logical deduction
• They must have been waiting for a rise in their salary.

MUST: Necessity (Internal vs. External)

Must - Have to

Must: the speaker expresses personal feelings/intentions:

• I must study the British Gothic (internal necessity).  I have to study the British Gothic
(external necessity).

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Have to the speaker is giving facts

• We can’t meet on Sunday. I have to work = am de lucru, trebuie sa lucrez, asta-i.

Mustn’t = it’s necessary that you do not do it.

Don’t have to = you don’t need to, it’s not necessary to do it.

• You mustn’t tell anyone what I said.

• I don’t have to wear a suit to work, but I usually do.

3. NEEDN’T – NEED TO – Absence of Obligation or Necessity

 You needn’t worry about the deadline.
 I don’t have to submit it till Sunday.
 You needn’t have talked on my behalf. (but you did!)
 They didn’t need to build any more scale models (so they didn’t).

Tenses:

Present Past Future

MUST ----------------- -------------
HAVE TO HAD TO I SHALL HAVE TO

III. Stop reading, let’s practise

1. Fill the spaces by inserting the correct form of may:

1. It ...rain, you’d better take a coat. 2. He said that it.......rain. 3. We ...... as well stay here till
the weather improves. 4...... borrow your umbrella? 5. You....tell me! (I think I have the right
to know.) 6. I think I left my glasses in your office. You......ask your secretary to look for
them for me. 7. ......all your wishes come true! 8. I....never see you again. 9. .... I give you
some advice? If you must. 10. You ought to buy now; prices......go up. 11. I’ll wait a week so
that he.......have time to think it over. 12. He isn’t going to eat it; I.......as well give it to the
dog. 13. You ... have written. (I am disappointed that you didn’t). 14. Nobody knows how
people first came to these islands. They......have sailed from South America on rafts. 15. He
said that we ..... use his flat whenever we liked. 16. If I bought a lottery ticket I....win £1,000.
17. I wonder why they didn’t go. The weather ..... have been too bad. 18. I was not so sure I
would find them at home. They............. gone abroad. 19. Two parallel white lines in the
middle of the road mean that you............not overtake. 20. They weren’t sketching in the
studio. They .... drinking their coffee.

2. Fill the spaces in the following sentences by inserting must or the present, future, or past
form of have to:

1. She.......leave home at eight every morning at present. 2. Notice in the picture gallery:
Cameras, sticks and umbrellas......be left at the desk. 3. He sees very badly; he ... wear glasses
all the time. 4. I ... do all the typing at my office. 5. You.......read this book. It’s really
excellent. 6. She felt ill and ... leave early. 7. Mr. Pitt....cook his own meals. His wife is away.
8. If you go to a dentist with a private practice you ... pay him quite a lot of money. 9. In my

6
district there is no gas laid on. People ... use electricity for everything. 10. The buses were all
full; I.....get a taxi. 11. Notice beside escalators: Dogs and push chairs......be carried.

3. Use must not or don’t have to:

1. You .... drink this: it is poison. 2. We .... make any noise or we’ll wake the baby. 3.
People ... go everywhere by boat in Venice. 4. You.............call me “Father”, call me “Alfred”.
5. Mother to child: You.........play with matches. 6. I (never)..........work on Saturdays. 7.
You...........ask a woman her age. It’s not polite. 8. I ... water the plants everyday, and yet I do
it. 9. You..........strike a match. The room is full of gas. 10. My employer said:
“You..........come tomorrow”.

4. Replace the clauses in italics with needn’t, need to or have to

E.g. a). It isn’t necessary for us to employ a carpenter. I can mend the sill.
We needn’t employ a carpenter.
b). You are not obliged to admire the project, just to please me.
You don’t have to admire the project, just to please me.
1. It isn’t necessary for the students to sit for the exam once more. They have already
passed it =
2. You are not obliged to replace the existing framing system =
3. It’s not necessary for us to leave the beams exposed =
4. You are not obliged to submit the plans and elevations now =
5. It is not necessary for the draftsmen to draw the details of the ground floor plan =
6. It is not necessary for us to saw the lumber on the site =
7. The constructors are not obliged to grade the lumber =
8. I wasn’t sure what the student was up to. It was not necessary for him to draw the
project again =
9. Patricia wasn’t obliged to tell the truth. She could have told a white lie =
10. It isn’t necessary to take all lumber to a planning mill =

III. MODAL VERBS OF DEDUCTION

1. Deductions about the present and the past. Rewrite the following sentences using
must, can't, might.
a. I'm sure he hasn't retired yet. He still leaves the house every morning.
__________________________________________________________________________
b. I'm sure he isn't very well off. His house is in a terrible mess.
__________________________________________________________________________
c. Perhaps he spent all his money when he was younger.
__________________________________________________________________________
d. I'm sure he does a lot of gardening. His garden looks beautiful.
__________________________________________________________________________
e. I'm sure he's read a lot of books about gardening. He's certainly an expert.
__________________________________________________________________________
f. I'm sure he's working in his garden now. I can hear someone digging.
__________________________________________________________________________

7
g. Now I can hear voices. Perhaps he's talking to Miss Appleby.
__________________________________________________________________________
i.They're shouting. Perhaps they are having an argument.
_________________________________________________________________________
j. They're talking about money. Perhaps Harry owes the other man some money.
__________________________________________________________________________
k. Now I can't hear anything. I'm sure they're gone inside.
__________________________________________________________________________
l. My God! A gun shot! I'm sure Harry has killed him!
_________________________________________________________________________
m. No, there's Harry outside, so it wasn't Harry who was shot.
__________________________________________________________________________
n. There's a siren. I'm sure this is the police arriving.
__________________________________________________________________________
o. Look at all those lights and cameras. Ah! Now I understand. They were making a film!

2. Deductions about present and past. Positive and negative logical deduction.
A detective is investigating a burglary at the home of Mr. and Mrs. Smith. Put in the
correct modal verb of deduction.

'I wonder how the thief got in. He (a) ....... used a ladder or he (b)........had a key. Ah! What's
this? Broken glass by the kitchen door, and the door has been unlocked. He (c)..........broken
the window, put his hand inside, and turned the key. That (d).........made a noise. I wonder if
the neighbours heard anything?'
( He goes next door to talk to the neighbours, and knocks on their door.)
'There's no reply. I suppose they (e)........be on holiday, or they (f).......watching television.'
(He listens at the letter-box.)
'I can hear voices. Someone (g)........in. Rather odd.'
(He goes back to the Smiths' house).
'Now, I wonder what was stolen. I don't think the Smith family is terribly well off, so the thief
(h).........found a lot to steal. It was clever of him to come in just after Mrs. Smith went
shopping. He (i).............known she would be out. Whay was that noise? It came from
upstairs. The burglar (j) ........ not.......left the house yet! He (k).........hiding upstairs! I'd better
go and see.'

IV. SUGGESTION & ADVICE with SHOULD

1. Should have done/ should have been doing/ shouldn't have done. Write two sentences,
one in the positive and one in the negative, for each of the following situations.
a. Andrew was arrested last night. He was driving home after a party, and he'd had too much
to drink.
___________________________________________________________________________
_________________________________________________________________________
b. Graham was wounded when he tried to stop a man robbing a post office. The robber shot
him in the leg.
___________________________________________________________________________
_________________________________________________________________________
c. Annie lost her purse yesterday. It was in her lag, but her bag wasn't fastened, and she left it
unattended for a few minutes while she bought a newspaper.

8
___________________________________________________________________________
_________________________________________________________________________
d. My briefcase was stolen from my car yesterday. I'd left it lying on the passenger seat while
I popped out to do some shopping, and I'm afraid the window had been left open.
___________________________________________________________________________
_________________________________________________________________________
e. Jenny was caught travelling on a train without a ticket.
___________________________________________________________________________
_________________________________________________________________________
f. There was a fire at Henry's house yesterday. Their son Max was playing with matches, and
he set fire to the furniture. Unfortunately the flat wasn't insured, so they've lost everything.

C. FURTHER PRACTICE ON MODALS

Read the short texts and fill in with the appropriate modal verbs or verbal tenses.
(Selection from English with a Key by Lidia Vianu. Editura Teora, 2001, pp. 62-64)

1 The pastry cook would be extremely embarrassed if his I. a. were to; b.

customers … (I) drop in on him for a chat when would; c. will.
he baked, as he will usually wear a swimming suit in II. a. saw; b. has
the vicinity of the oven and he hates being seen naked, seen; c. sees.
so nobody … (II) his green birthmarks on the left hip
so far.
2 After work in the field, the men will often drop into the I. a. need not; b.
sheriff’s pub for a bottle of wine and milk pudding, but the has not got to;
ploughman … (I) go because he … (II) a fight in c. can’t
which he shot the sheriff in the right foot a year ago, and II. a. has had; b.
has been avoiding him ever since. had; c. had
had
3 … the polygamist have been sleeping ever since he left a. Must; b. Can; c.
himself dropping off at the San Francisco airport in the Need
middle of the newsreel, or has any of his wives woken him
up and taken him to his cell by now?
4 The preacher suspected it … (I) be true that the I. a. could; b.
churchgoers … (II) wait for their wet clothes to dry out can; c. may
after they had been caught in the heavy rain. II. a. must; b.
had had to; c.
need.
5 “…(I) you be so rude about it?”, the beekeeper moaned I. a. Will; b.
when the editor-in-chief denied the recent news that the Need; c. May.
beekeeper’s article on drones had been earmarked for II. a. has been; b.
further publication in an agricultural magazine that …(II) was; c. had
printed in the village for two centuries and a half. been.
6 The prophet advised that the patient … (I) be injected with I. a. did not
cocaine as the doctor will see him before long, and he had need; b.
already promised he would prescribe a simple drug that … needed not;
(II) ease the poor man of his suffering. c.need not
II. a. will; b.
would; c. may
7 The profiteer tried to explain to his progeny that he …(I) I. a.needn’t; b.
have brought his bodyguard because, although in Tokyo did not need;

9
 there were plenty of fellows ready to ease anyone of a few c. needed not;
pounds if they saw they …(II) foreign, the British II. a. are; b.
Embassy had sworn to accompany him wherever he were; c. were
wanted to walk, so he … (III) be in no immediate danger being
of any kind. III. a. will; b. can;
c. would
8 The tension between the two cities … (I) have eased off if I. a. must; b.
the designer has gone home at the crack of dawn, after can; c. need
working all night, and he … (II) have been exhausted if he II. a. should; b.
forgot to look to left and right, wait for the flow of traffic will; c. must
to ease off and then cross the highway.
9 The protagonist of your short story … (I) have given up I. a. can; b. will
studying Law because the cost of tuition added to his be able to; c.
previous Oxford debt must have eaten into his inheritance had better
quite considerably, and it … (II) take an enormous amount II. a. will; b.
of money for him to graduate, after which he … (III) most should; c. can
certainly find himself as poor as a church mouse. III. a. was to; b.
did; c. will
1 The archpriest … (I) not have been made to eat up because I. a. must; b.
0 he … (II) use the side door, and the main entrance will not should; c.
be large enough for him, even though he may be eaten up may
with curiosity to see the pimp get married to a fifty-year II. a. can’t; b.
old prostitute, who is very embittered and … (III) eaten up need not; c.
by jealousy ever since he made her wait in front of the must
altar for five days on end. III. a. is; b. was.
c. has been

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 D. PUBLIC BUILDINGS (AN OFFICE BUILDING)

1. In the boxes below, you are given three examples of how to choose the title and
write the introduction for an article (describing; feature) on using more glass in
architecture. Choose the one you find more appropriate and comment on your choice
and the other examples that you found rather inappropriate.

D.
Leaves
E.
of Glass
F.
G. by Brent Richards
H.
Glass,I. as a building material, offers a special interlayer between our outer and inner
spaceJ.and has opened up and contained, as well as sheltered and revealed, the
architecture
K. of its time. Architects' pursuit of the minimal environmental envelope
has created
L. an evolutionary and reductionist approach, whereby glass has become a
predominant
M. and essential cladding material of contemporary architecture.

Housing Tango

by Michael Webb

Eight vibrantly colored steel and glass towers dance around a landscaped
courtyard, exposing most of the living rooms to the outdoors, with a wall of
bedrooms wrapped around three sides of the block. Each of the 27 apartments
has a unique character, the block is self-sufficient in energy, and many
functions — from heating to door locks — can be individually controlled by
personal computer.

Working Light

by Debra Moffitt

Imagine rushing through an underground subway station and

suddenly looking up into the sky to realize that the earth has turned
a few degrees and the weather has changed. This is the reaction
that architect and artist James Carpenter wants to create with his
daylight-bending projects.

11
 2. Now, read a full article on this topic:

Visitors ascend from street level by elevator and enter the new Red Bull headquarters via a rooftop
reception lobby. This dramatic entry sequence, from a small ground-floor lobby to a grand, rooftop
terrace overlooking London's West End, is heightened by views from the terrace down into and
through the building.

From the terrace, the visitor is allowed glimpses through the punctured floor plates, into the dramatic
triple-height atrium. Inside, there is a three-story-high "video wall," a "floating" staircase, and, of
course, the slide.

Yes, this building has a slide. Given that the advertising jingle for the caffeinated sports drink Red
Bull promises that it "gives you wings," one imagines that most employees (the ones who can't
manage to fly down) ride the glossy white slide that runs from floor to floor, and that only a boring
few descend using the more traditional steel staircase that runs next to it.

"The concept was driven entirely from the Red Bull brand," explains Jump Studios project designer
Go Sugimoto, who worked with project architect Laszlo Fecske to design the Red Bull offices. "Red
Bull is dynamic and young, with energetic employees."

Charging Work and Play

Some aspects of the eye-catching interior seem dreamed up by 12-year-olds, but with quality finishes
and detailing. More adult aspects, such as hard-wearing surfaces and concealed storage, make the
spaces practical.  

Jump Studios is known for their theatrical, seductive interiors and their penchant for borrowing
industrial finishes and materials and transforming them into tactile and of-the-moment interiors.

For instance, their Nike offices in London's Soho (2003) features mirrored corridors, industrial-
strength, poured resin floors, and a "display cage" — a long wire-mesh cage used to display Nike gear.
That space is exuberant, playful, and futuristic. Inside a standard office building, Jump Studios can
create another world — a way of inhabiting a shiny, playful fantasy world that far surpasses visitors'
expectations.

At Red Bull, Jump Studios worked with a budget of around £2 million for this ambitious, three-level,
interior fit-out, and the look is luxurious, sci-fi and in parts almost clinical. From the outside, the
building blends right into its neighborhood, but on the inside, the typical rules of offices — and
architecture — do not apply.

12
Rather than conventional floors, walls, and ceilings, the Red Bull headquarters spaces sport wrapping
surfaces of unexpected materials, and floor becomes wall becomes ceiling. It is an office playground.

The interior is all about interaction and movement. It is hard to imagine employees walking slowly
through the spaces. In addition to the slide between levels, the furniture and fittings are all sleek and
glossy, encouraging one to run a hand along the surface or sit on the walls. One imagines their
recruiting days draw a lot of grown-up skateboarders.

Playful Meeting Rooms

In a space like this, normal cubicles would be ridiculous, so glass meeting "pods" with bright graphics
define the more private meeting spaces. Traditional office lighting would also be out of place. In the
lobby, the ceiling appears faceted and glowing; a striking effect achieved using custom, circular, cold-
cathode lights behind translucent, stretched, ceiling membranes.

Even the office furniture has been customized. Round ping-pong tables (with paddles, naturally)
replace conventional conference-room tables, and in the lounge area, comfy sofas and chairs allow
employees to put their feet up. But generally, these spaces are neither relaxing nor homey, they are
highly charged, energetic, and undeniably trendy.

Sugimoto explains that the Red Bull can was at the heart of the concept: "The can holds a much leaner
and compressed proportion [of liquid] compared to other can products. This we took quite literally and
tried recreating a compressed experience. In some areas, the ceilings are quite low with custom
meshed panels and light strips."

The most striking element is the curved, white reception desk that sits in the center of the central
lobby. Made of woven fiberglass, which Sugimoto explains is normally used for as an industrial
material to wrap exhaust pipes on motorcycles, the material is tactile and smooth, showcasing an
unusual and luminous centerpiece for the space.

The process of sourcing unusual and striking materials and incorporating them into an interior is at the
heart of the design process for Jump Studios. The "L-SIM, [the woven fiberglass] reflects the F1
culture and high-techness of Red Bull," says Sugimoto.

While it may look like it was all fun and no work, the design process was challenging because of
limitations in the original structure. "As any existing building holds, there are elements you come
across during demolition," notes Sugimoto. "Mechanical and electrical issues, fire issues, access
issues. The plan and layout of the spaces were quite restricted due to existing lift and core conditions."

But the result gives the impression of a wild and exciting, although surprisingly practical, series of
office and reception spaces. Beyond the "wow factor" of unusual materials and dynamic routes
through the space, at Red Bull there is now a quality workspace far from the typical office interior.
Jump Studios has challenged the preconceptions of the "office" and developed this everyday space
into something more powerful.

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GRAMMAR PRACTICE
(From Virginia Evans, CPE, USE OF ENGLISH) – ING & INFINITIVE

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 N. FURTHER TRANSLATION PRACTICE
I. Look at the photos of Marcel Janco’s design and identify the architectural
terms used in the text in the photos.

Clara Iancu House. 20 Caimatei Street; Building permit: May 1931. Apartment
building, ground floor + 4 upper floors.
It was built for his wife in a little street in central Bucharest, and financed by Janco himself.
Since 1931 the Jancos lived there and the Brothers Janco’s Office for Modern Studies was
probably located on the top floor. There is one flat on each floor; on the ground floor –
slightly sunken – there are garages and service rooms. Built on a narrow parcel and tacked to
the neighbouring building, it can be accessed only through the front façade; that is why the
ground floor looks like a base course with a series of doors, among which the main front door
is discretely marked by the composition of the upper floors. This house is mainly a façade

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study, somehow in the line initiated by the Fuchs Villa. The almost exclusive use of
rectangular and flat elements creates an apparent stiffness, which is only contradicted by the
dynamism and sculptural design of the composition itself. The dynamism of the building
issues from the vertical shaft of the two vertical registers and from their asymmetrical joint
through the balcony parapets. The sculpted design is obtained by the gradual recess of various
projecting areas in the façade plane. Moreover, the smooth and accurate treatment of the
carpentry work in the most recessed plane, overlapped by the projecting elements, creates a
complex effect.

Paul Wexler Villa. 36 Grigore Mora Street. Building permit: June 1931. Detached
house, ground floor + 2 upper floors.

It was built for a well off family in the new residential district in the north area of the city. It
displays a very functional interior space distribution, with communicating living spaces, a
large void spanning the hall area, and a big garden-terrace and some additional rooms on the
top floor.
The building itself is a plain volume, almost a cube-like shape, with large spans of masonry
that imprint an overall massive character to the building.
The main façade clearly reads the interior partition. In fact, it is a contrastive articulation of
two surfaces, on the one hand, a prevailing compact surface, where the windows of the main
rooms and the staircase open, while on the other hand, there is the vertical register that

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unfolds over the entrance, with its successive recesses, which gradually dematerializes
towards the terrace loggia.
Significantly, Janco himself chose this dwelling to have it published in a work on modern
architecture, a major European reference book in architecture.

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