2015-11-23 澳大利亚技术移民
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今天分享滴阅读题目是昨天上午考试滴相似文章，童鞋们可以参考~~愿意滴话不妨拿出二十分钟做做看哦~~
British Architecture
British Architecture
Architecture is about evolution, not revolution. It used to bethought that once the Romans pulled out of Britain in the fifth century, theirelegant villas, carefully-planned towns and engineering marvels like Hadrian'sWall simply fell into decay as British culture was plunged into the Dark Ages.It took the Norman Conquest of 1066 to bring back the light, and the Gothiccathedral-builders of the Middle played an important part in the revival ofBritish culture. However, the truth is not as simple as that Romano-Britishculture - and that included architecture along with language, religion,political organization and the arts - survived long after the Roman withdrawal.And although the Anglo-Saxons had a sophisticated building style of their own,little survives to bear witness to their achievements as the vast majority ofAnglo-Saxon buildings were made of wood.
Even so, the period between theNorman landing at Pevensey in 1066 and the day in 1485 when Richard III losthis horse and his head at Bosworth, ushering in the Tudors and the Early Modernperiod, marks a rare flowering of British building. And it is all the moreremarkable because the underlyingethos of medievalarchitecture was 'fitness for purpose'. The greatcathedrals and parish churches that lifted up their towers toheaven were not only acts of devotion in stone; they were also fiercelyfunctional buildings. Castles served their particular purpose and theirbattlements and turrets were for use rather than ornament. In a sense, the buildings ofthe 16th century were also governed by fitness for purpose - only now, thepurpose was very different. In domestic architecture, in particular, buildingswere used to display status and wealth.
This stately and curiousworkmanship showed itself in various ways. A greatersenseof security led to more outward-looking buildings, as opposed to the medievalarrangement where the need for defense created houses that faced inward onto acourtyard or series of courtyards. This allowed for much more in the way ofexterior ornament. The rooms themselves tended to be bigger and lighter - as anexpensive commodity, the use of great expanses of glass was in itself astatement of wealth. There was also a general move towards balanced andsymmetrical exteriors with central entrances.
With the exception of InigoJones (1573-1652), whose confident handling of classical detail and proportionset him apart from all other architects of the period, most early 17th century buildings tended to take the innocent exuberance of late Tudor work one step further. But duringthe 1640s and 50s the Civil War and its aftermath sent many gentlemen andnobles to the Continent either to escape the fighting or, when the war waslost, to follow Charles II into exile. There they came into contact withFrench, Dutch and Italian architecture and, with Charles's restoration in 1660,there was a flurry of building activity as royalists reclaimed their propertyand built themselves houses reflecting the latest European trends. The BritishBaroque was a reassertion of authority, an expression of absolutist ideology bymen who remembered a world turned upside down during the Civil War. The styleis heavy and rich, sometimes overblown and melodramatic. The politics whichunderpin it are questionable, but its products are breathtaking.
The huge glass-and-iron Crystal Palace,designed by Joseph Paxton to house the Great Exhibition of 1851, shows anotherstrand to 19th century architecture - one which embraced new industrialprocesses. But it wasn't long before even thisconfidencein progress came to be regarded with suspicion. Mass production resulted inbuildings and furnishings that were too perfect, as the individual craftsman nolonger had a major role in their creation. Railing against the dehumanisingeffects of industrialisation, reformers like John Ruskin and William Morrismade a concerted effort to return to hand-crafted, pre-industrial manufacturingtechniques. Morris's influence grew from the production of furniture andtextiles, until by the 1880s a generation of principled young architects wasfollowing his call for good, honest construction.
The most important trends in early 20thcentury architecture simply passed Britain by. Whilst Gropius was working oncold, hard expanses of glass, and Le Corbusier was experimenting with the useof reinforced concrete frames, we had staid establishment architects like EdwinLutyens producing Neo-Georgian and Renaissance country houses for an outmodedlanded class. In addition there were slightly batty architect-craftsmen, theheirs of William Morris, still trying to turn the clock back to before theIndustrial Revolution by making chairs and spurning new technology. Only ahandful of Modern Movement buildings of any real merit were produced here duringthe 1920s and 1930s, and most of these were the work of foreign architects suchas Serge Chermayeff, Berthold Lubetkin and Erno Goldfingerwho had settled in this country.
After the Second World War the situationbegan to change. The Modern Movement's belief in progress and the future strucka chord with the mood of post-war Britain and, as reconstruction began underAttlee's Labour government in 1945, there was a desperate need for cheaphousing which could be produced quickly. The use of prefabricated elements,metal frames, concrete cladding and the absence of decoration - all of which had been embraced by Modernistsabroad and viewed with suspicion by the British - were adopted to varying degree for housing developments and schools. Local authorities, charged with task of rebuilding city centers, became importantpatrons of architecture. This represented a shift away from the privateindividuals who had dominated the architectural scene for centuries.
Since the War it has been corporate bodieslike these local authorities, together with national and multinationalcompanies, and large educational institutions, which have dominated Britisharchitecture. By the late 1980s the Modern Movement, unfairly blamed for thesocial experiments implicit in high-rise housing, had lost out to irony andspectacle in the shape of post-modernism, with its cheerful borrowings fromanywhere and any period. But now, in the new Millennium, even post-modernism isshowing signs of age. What comes next? Post-post-modernism?
Questions 28-34
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 35-40 on your answer sheet.
28 The feature of medieval architecture was
A immense
B useful
C decorative
D bizarre
29 What contributes to the outward-looking buildings in the 16th century?
A safety
B beauty
C quality
D technology
30 Why were the buildings in the 1660s influenced by the latest European trends?
A Because the war was lost.
B Because the craftsman came from all over the Europe.
C Because the property belongs to the gentlemen and nobles.
D Because the monarch came back from the continent.
31 What kind of sense did the British Baroque imply?
A tough
B steady
C mild
D conservative
32 The individual craftsman was no more the key to creation for the appearance of
A Crystal Palace
B preindustrial manufacturing return
C industrial process in scale
D ornament
33 The building style changed after World War Two as a result of
A abundant materials
B local authority
C shortage of cheap housing
D conservative views
Questions 34-40
Complete the sentences below.
Choose words from the passage for each answer.
Write your answers in boxes 28-34 on your answer sheet.
34 The Anglo-Saxon architecture failed to last because the buildings were constructed in
35 Different from the medieval architecture, the buildings of the 16th century represents
36 The costly glass was applied widely as an............. in that years
37 Inigo Jones was skilled at handling....... style.
38 William Morris favored the production of ............... made in pre-industrial manufacturing techniques.
39 The architects such as.......... provided the landlord with conservative houses.
40 After World War Two, the architect commission shifted from individual to …………
答案
28. B
29. A
30. D
31. D
32. C
33. C
34. wood
35. status and wealth
36. expensive commodity
37. classical
38. furniture and textiles
39. Edwin Lutyens
40. local authorities
（答案可能有误，仅供参考）
转载自雅思
