Trang luyện nghe tiếng Anh trực tuyến

Không làm các việc ác, thành tựu các hạnh lành, giữ tâm ý trong sạch, chính lời chư Phật dạy.Kinh Đại Bát Niết-bàn

Khi tự tin vào chính mình, chúng ta có được bí quyết đầu tiên của sự thành công. (When we believe in ourselves we have the first secret of success. )Norman Vincent Peale

Việc người khác ca ngợi bạn quá hơn sự thật tự nó không gây hại, nhưng thường sẽ khiến cho bạn tự nghĩ về mình quá hơn sự thật, và đó là khi tai họa bắt đầu.Rộng Mở Tâm Hồn

Sự thành công thật đơn giản. Hãy thực hiện những điều đúng đắn theo phương cách đúng đắn và vào đúng thời điểm thích hợp. (Success is simple. Do what's right, the right way, at the right time.)Arnold H. Glasow

Người ta vì ái dục sinh ra lo nghĩ; vì lo nghĩ sinh ra sợ sệt. Nếu lìa khỏi ái dục thì còn chi phải lo, còn chi phải sợ?Kinh Bốn mươi hai chương

Mục đích cuộc đời ta là sống hạnh phúc. (The purpose of our lives is to be happy.)Đức Đạt-lai Lạt-ma XIV

Đối với người không nỗ lực hoàn thiện thì trải qua một năm chỉ già thêm một tuổi mà chẳng có gì khác hơn.Sưu tầm

Trong cuộc sống, điều quan trọng không phải bạn đang ở hoàn cảnh nào mà là bạn đang hướng đến mục đích gì. (The great thing in this world is not so much where you stand as in what direction you are moving. )Oliver Wendell Holmes

Tôn giáo không có nghĩa là giới điều, đền miếu, tu viện hay các dấu hiệu bên ngoài, vì đó chỉ là các yếu tố hỗ trợ trong việc điều phục tâm. Khi tâm được điều phục, mỗi người mới thực sự là một hành giả tôn giáo.Đức Đạt-lai Lạt-ma XIV

Hãy sống tốt bất cứ khi nào có thể, và điều đó ai cũng làm được cả.Đức Đạt-lai Lạt-ma XIV

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At last people are beginning to see that it is possible, and important in human terms, to
respect old buildings, street plans and traditional scales and at the same time not to feel
guilty about a preference for facades, ornaments and soft materials. At last, after
witnessing the wholesale destruction of Georgian and Victorian housing in most of our
cities, people have begun to realize that it is possible to restore old buildings and, what
is more, that there are architects willing to undertake such projects.
For far too long, it seems to me, some planners and architects have consistently ignored
the feelings and wishes of the mass of ordinary people in this country. Perhaps, when
you think about if, it is hardly surprising as architects tend to have been trained to
design buildings from scratch to tear down and rebuild ... A large number of us have
developed a feeling that architects tend to design houses for the approval of fellow
architects and critics, not for the tenants.
To be concerned about the way people live, about the environment they inhabit and the
kind of community that is created by that environment should surely be one of the prime
requirements of a really good architect. It has been most encouraging to see the
development of community architecture as a natural reaction to the policy of decanting
people to new towns and overspill estates where the extended family patterns of support
were destroyed and the community life was lost. Now, moreover, we are seeing the
gradual expansion of housing cooperatives, particularly in the innercity areas of
Liverpool, where the tenants are able to work with an architect of their own who listens to
their comments and their ideas and tries to design the kind of environment they want,
rather than the kind which tends to be imposed upon them without any degree of choice...
What I believe is important about community architecture is that it has shown ordinary
people that their views are worth having; that architects and planners do not necessarily
have the monopoly of knowing best about taste, style and planning; that they need not
be made to feel guilty or ignorant if their natural preference is for the more traditional
designs for a small garden, for courtyards, arches and porches and that there is a
growing number of architects prepared to listen and to offer imaginative ideas...
It would be a tragedy if the character and skyline of our capital city were to be further
ruined and St Paul's dwarfed by yet another giant glass stump, better suited to
downtown Chicago than the City of London. It is hard to imagine that London before the
last war must have had one of the most beautiful skylines of any great city, if those who
recall it are to be believed. Those who do, say that the affinity between buildings and the
earth, in spite of the city's immense size, was so close and organic that the houses
looked almost as though they had grown out of the earth and had not been imposed
upon it grown, moreover, in such a way that as few trees as possible were thrust out of
the way. Those who knew it then and loved it, as so many British love Venice without
concrete stumps and glass towers, and those who can imagine what it was like, must
associate with the sentiments in one of Aldous Huxley's earliest and most successful
novels. Antic Hay, where the main character, an unsuccessful architect, reveals a model
of London as Christopher Wren wanted to rebuild it after the Great Fire and describes
how Wren was so obsessed with the opportunity the fire gave the city to rebuild itself
into a greater and more glorious vision. What, then, are we doing to our capital city now?
What have we done to it since the bombing during the war? What are we shortly going to
do to one of its most famous areas Trafalgar Square? Instead of designing an extension
to the elegant facade of the National Gallery which complements it and continues the
concept of columns and domes, it looks as if we may be presented with a kind of vast
municipal fire station, complete with the sort of tower that contains the siren.
I would understand better this type of High Tech approach if you demolished the whole of
Trafalgar Square and started again with a single architect responsible for the entire
layout, but what is proposed is like a monstrous carbuncle on the face of a much loved
and elegant friend. Apart from anything else, it defeats me why anyone wishing to display
the early Renaissance pictures belonging to the gallery should do so in a new gallery so
manifestly at odds with the whole spirit of that age of astonishing proportion. Why can't
we have those curves and arches that express feeling in design? What is wrong with them? Why has everything got to be vertical, straight, unbending, only at right angles and functional?

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