2021年4月3日雅思考試機(jī)經(jīng)真題答案回憶(4)

2021年4月3日雅思考試機(jī)經(jīng)真題答案回憶(4) 關(guān)于這個(gè)問題下面小編就來為各個(gè)考生解答下。

4月3日 的雅思考試回憶來啦！

Passage 3

Topic

奧克蘭藝術(shù)館

Review taken from AR 125:Architecture and the Arts, on sale from 30 May,2012.

①lt's a very tough gig for architects in today's scorched-earth cultural landscape,whererolling battles continue to play out in ever-widening trenches of gloom. So it goes,theprofession faces a tripartite threat, up against an ambivalent public that apparently doesn'tunderstand what architects really do, rampaging developers who couldn't care less whatthey do and overbearing councils micromanaging every single aspect of what they do.According to frontine intelligence,the heat is really on when architects work on publicbuildings, as FJMT and Archimedia discovered with their Auckland Art Gallery makeover,where a matrix of extemal pressures became so compacted the project threatened to

implode inside a bureaucratic black hole.

②lt was a job in two parts. First，restore the heritage building (1888), a virtual rabbitwarren, refurbished so often it contained 17 different floor heights. Second, deliver a newextension that would not only double floor and exhibition space but also attract newpatrons, a crucial imperative. While the old building's circulation was off putting, so wassomething intangible yet just as powerful: its aura. For many，Auckland Art Gallery was amonolith that served elite interests, missing its chance to engage with new audiences.

③A 2003 academic survey of young people's impressions of the gallery corroborated this.sounding more like recollections of a haunted house.For the survey authors 'thresholdfear' was the institution's undoing, something no architect wants anything to do with. That'sthe psychological underbelly of spatial logic，where certain groups are intimidated fromentering certain spaces by how those spaces make them feel.For those young people,Auckland Art Gallery was undemocratic, "dusty" and "cold"- a paradigm of 'threshold fear'.Also，16 per cent of the sample group had no idea where it even was,despite beinginterviewed on the pavement right outside it. Clearly, the gallery was fatally out of sync at atime when New Zealand's national museum in Wellington was successfully engagingbroader audiences with contemporary branding and marketing，interactive displays andtemporary events.

④The decision to evolve the gallery was actually made in 2000，although it took eightyears for building to commence, as the architects fought off heritage committees, resourceconsents and conservationists trying to put the bite on, for this wasn't just a story of adisillusioned public but also of precious timber and parkland. Pushing the design throughthe environment court alone took three years, causing the budget to blow out to the tune ofa few milion dollars , funding to dry up and a redesign of the new wing.

⑤Even after the redesign the use of kauri timber became a political football. In the newbuilding the architects have used it to produce a sinuous canopy supported by taperedsteel columns, also clad in kauri. The canopy presents a signature public face, its curvature

filtering light to the forecourt to the west and implanting visual referents to the canopy ofpohutukawa trees in Albert Park to the east.

⑥Kauri has rich cultural significance to New Zealand's Maori people, and here it mediatesbetween the project and the land (Albert Park was home to early Maori settlements).Theconnection is enhanced by sculptures adorning the columns from Maori artist ArnoldWilson, while fellow artist Bemard Makoare was a consultant,ensuring the gallery alignedwith indigenous beliefs. Still, that didn't stop conservationist Stephen King from having apop,accusing the architects of“throwing”kauri at a “mediocre building”and ofmisappropriating the 'mana'(spiritual energy) of the precious material (which is almostextinct; harvesting of both petrified swamp kauri and what little remains above ground hasbeen likened to a gold rush, marred by 'cowboy' operators and frontier mentalities).Fallenkauri was used here though, from the forest floor,and King's misconceptions sum up theforcefield of prejudice that surrounded the project.

⑦Objections also came from the Auckand Regional Council, fretting about the extension'simpact on Albert Park，yet the project's relationship with parkand is among the mostsuccessful outcomes. lmpact is not only minimal but improves the park's social function.The extension's enormous glass atrium opens up the building by directing the gaze fromstreet level to the parkland beyond,while inside,the new art space is fronted along theeast by a continuous glass wall incorporating the park into the gallery. The glass becomesa 'screen' for viewing the outside world and makes the art accessible to those in the park, afar cry from white cube' galleries worldwide, and the dusty, impermeable Auckland galleryof old.

⑧Another success is the refurbishment of the heritage building, especially the MackelvieGallery, in disrepair after its Edwardian detailing had been stripped out or walled away byprevious renovations.Remarkably, the Mackelvie space has been reconstructed from twoold photos, although the problem of multiple floor levels was so acute scaffolding had to beerected at the highest level，with work progressing downwards. When it was over，itproduced a reverse result: the lowest level visible under glass embedded in the new floor,the building itself as artwork,while elsewhere columns from the old gallery have beenexposed in the walls of the new wing. l've heard criticism of this aesthetic, as if the heritagebuilding has become a theme park, but while l get why it seems fussy to some, it alsoforegrounds a renegotiation of site elements. That's not just cosmetic: such is thecirculation it's sometimes hard to tell which wing you're in, old or new.

@In 2008 the gallery averaged just 190,000 visitors annually. Since re-opening it's hadover 300,000 in five months.Cynics will chalk that up to novelty of the new but the fact is,the gallery is now an alluring cultural space.And yes,when l was there it was crawling withyoung people, their threshold fear banished by exposure to the light.

27-31為單選題

27.A

28.暫無

29.B

30.暫無

31.暫無

32-35為判斷題

32. In the past, the Auckland Gallery has been regarded as elite institution. Y

33. The design of Kauri aimed to show Stephen King's understanding of Maori artists.N

34.暫無

35. The extension of Albert ParK's glass screen related the surroundings to the 'whitecube' galleries.Y

36.暫無

37-40為選擇題

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