Модальные глаголы “must” (mustn’t) и “have to (don’t have to”)
| + | You mustwear a hard hat. We have toclock in. | It is necessary. |
| - | You mustn’tsmoke. | It is not allowed. |
| - | We don’t have towear hard hats in the office. | It is not necessary. |
| ? | Mustwe clock in?* Dowe have toclock in? (*have to – обычно в вопросах) | Asking if something is necessary. |
I. Read the text “A factory tour” paying attention to the underlined modal verbs. Then complete the company’s health and safety rules with 8 of the items in the box:
arrive fire alarm fire extinguishers food and drink hard hat smoke
protective clothing temperature warehouse waste material
A FACTORY TOUR
- Good morning, everyone. I’m Alistair Patterson and I’m responsible for health and safety here at the plant. Before we start the tour of the plant, please put on your jackets and the hard hats. Remember that you must always wear a hard hat when you are moving around the plant. Ok, good. Is everyone ready? I’ll take you around the main production lines first, then we’ll visit the warehouse and we’ll finish the tour back here in the main office building…
Now obviously, you mustn’t smoke in the production area – in fact, there is no smoking allowed anywhere. Until last year, we had a special smoking area outside the office building, but now the whole plant is a no-smoking zone. As you can see, the main hazard here is the machinery. That’s why you should always wear protective clothing. In fact, you can’t enter this area if you aren’t wearing jackets and hard hats…
Well, here we are in the warehouse. There are a lot of fire hazards in the warehouse, and so this area must be kept clean and tidy at all times. If you are working here, always put all waste material into the bins. There are fire extinguishers on the walls and the fire exit is on the left. Can you see it? It’s quite clearly marked. Please remember, you are not allowed to have any food or drink in the warehouse area. You can only eat or drink in the canteen…
Now, just before we go back into the main office building, can you see the sign on the wall here? This is the main assembly point, where you should come if there is an emergency – a fire, for example. We do regular fire drills and you should come here to this assembly point when you hear the fire alarm. This is the way we check that all employees and visitors are safe. That’s why visitors must always sign in when they arrive at the plant and sign out when they leave. We have to know who is on site at all times. Now, are there any questions?
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1) You must always wear a …………… when you are moving around the plant.
2) You mustn’t ………..anywhere.
3) You can’t enter the production area if you aren’t wearing ………….
4) The …………….must be kept clean and tidy.
5) Always put all ………………..into the bins.
6) You can only consume ……………in the canteen.
7) You should come to the assembly point when you hear the ……………
8) Visitors must sign in when they ……………….at the plant.
II. Choose the correct verbs to complete the list of health and safety rules for the workplace.
1) Women should/must/shouldn’t wear high-heel shoes at work.
2) Stairs can’t/don’t have to/must be clear of obstacles.
3) All exits don’t have to/should/can’t be kept clear.
4) You have to/can/mustn’t leave any objects on the floor.
5) You should/mustn’t/don’t have to behave correctly at work.
6) You don’t have to/must/shouldn’t tie back your hair if it is long.
7) You have to/mustn’t/can’t wear a protective mask when operating machines.
8) You can/mustn’t/should smoke.
9) For safety reasons, you don’t have to/can/mustn’t wear a tie when operating machines.
10) When lifting boxes, you don’t have to/should/mustn’t bend your knees.
III. What rules or guidelines are there in your workplace? Compare with a partner ask follow-up questions.
Model: A: We have to wear white coats in the laboratory.
B: Oh, we don’t have to wear any special clothing. Why do you have to wear white coats?
UNIT V
“ARCHITECTURE AND DESIGN”
I. Read the following text. Find the modal verbs and translate them paying attention to the active and passive forms of the modals:
HIGH PERFORMER
It may be grim outside today but a summer of orchestras and proms in the park will soon be upon people. The work of the architect Jason Flanagan at Fosters and BFLS has included the Sage at Gateshead and the Performing Arts Centre for the Welsh College of Music and Drama. But work on a small acoustic project with conductor Mark Stephenson soon turned into something more as they spotted a gap in the market of mobile stages and, working with Arup Acoustics, patented an acoustically lined stage.
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To carry out this new project the three sizes of stage should have a lightweight aluminium truss structure that goes up like a pram hood, an inflatable skin completes the shell and acoustic liners flown inside. As well as creating a reflective surface for performers inside to hear themselves, and the rest of the ensemble, the shell should have a peak that projects sound out to an audience of up to 750 without amplification.
II. Look through the text and choose the appropriate form of the modal verbs. Translate the text.
TWO WATERSIDE MUSEUMS
To go in the space of a week from Zaha’s Riverside Museum in Glasgow to the new M Shed Museum in Bristol (by Melbourne’s LAB architects, and also on the waterfront) 1) is to/is to be see two utterly different approaches to the business of making a regional cultural centre.Zaha’s big striated zigzag of a building 2) can/can be draw from its context to a perhaps surprising extent – there 3) should /should havebe echoes of the remaining big industrial sheds of Clydeside with their sawtooth roofs, plus the fluid confluence of the rivers Kelvin and Clyde at this point. But it 4) must/must havebe all-new, making its mark in a distinctly denuded postindustrial setting.
At Bristol’s M Shed, given that the architects are also known as icon-builders (think Federation Square in Melbourne) you 5) might/might beexpect eruptions of fractal geometry. But no. This is a well-mannered, modest bit of re-use of an existing dockside warehouse. One that is not especially remarkable or historic – it dates from the 1950s and is not listed – though it 6) must/must havehave a functionalist purity to it.
LAB architects really only 7) can/can be get their trademark fractals going in the staircase atria at the two ends of the building, plus they make one large incision to make their slightly forward-leaning entrance façade. Otherwise, you think, it 8) may/may have be actually quite a modest little regional museum, the kind of memory-attic that provincial cities used to have. Plus it has interesting things around it like working dockyard cranes, steam engines and historic boats. At Glasgow’s Riverside, everything 9) should/should havebe static.
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Despite that, Zaha in Glasgow is all about transport and travel. Two things put you off: the relentlessly pistachio-green interior, which feels like coloured cake icing, and the massively over-cluttered collection of vehicles. It’s like one huge traffic jam in there. It 10) could/could beedited down by 50 per cent easily. So if you’re museum-spotting for architecture, head for Glasgow – it’s good if not great Zaha. But if you want a well-balanced and presented display of local material in a relatively understated building in more congenial urban surroundings, then you 11) should/should have make for M Shed in Bristol.
III. Look through the text. Use the following modal and notional verbs in the correct form. Translate the text:
LIFESPAN
What is the lifespan of a building, or a building restoration? Despite the fact that much of the population lives in houses that are a century or more old, the answer nearly always 1) (can, appear) to be 30 years.
The 1863 Temperate House in Kew Gardens 2) (need) a £28m restoration. Go there today and you’ll see the proudly-carved stone inscription marking its re-opening by the Queen - in 1982. That 3) (could, mark) the completion of the last restoration. There is controversy over Make Architects’ proposal to demolish part of Arup Associates’ Broadgate complex in the city of London and replace it with something very much bigger. The original Broadgate is only 25 years old. No wonder there are moves afoot to get Richard Rogers’ Lloyd’s of London building listed. It too is 25 years old.
Some buildings are of course 4) (should, design) for much longer lifespans - the British Library by Sandy Wilson and Portcullis House by Michael Hopkins both have something like a 250 year design life, and you 5)(cannot, help) noticing that medieval cathedrals and timber-frame houses last pretty well, too. But in the commercial sector, 25 to 30 years 6)(be to, be) the norm. Consider the demountable new building for Garsington Opera by Robin Snell, in June’s RIBAJ. Demountable it 7) (may, be), but not ‘temporary’. It will be put up and taken down again every year. And its planned design life is - 30 years.
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