单选题 A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburban town of Merion, Pa., to a site in Philadelphia's museum district caused an argument—not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to break a relationship among art, architecture and landscape critical to the Barnes's success as a museum.
For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming (势不可挡的). What is an architect's responsibility to Barnes's vision of a marvelous but odd collection of early Modern artworks housed in a rambling (布局凌乱的) 1920s Beaux-Arts pile? Is it possible to reproduce its spirit in such a changed setting? Or does trying to copy the Barnes's unique atmosphere only doom (注定) you to failure? The answers of the New York architects taking the commission are not reassuring.
The new Barnes will include many of the features that have become virtually mandatory (强制性的) in the museum world today—conservation and education departments, temporary exhibition space, bookstore, café— making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to copy the peacefulness, if not the fantastic charm, of the old museum.
But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.
The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cézanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the country's most charming exhibition spaces.
But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate.

单选题 The Old Barnes becomes a successful museum mainly because of______.

【正确答案】 D

【答案解析】根据题干中的Barnes和museum将本题出处定位于第1段末尾处。第1段末尾处说到，这预示着要破坏艺术、建筑和风景之间的关系，这一关系对巴恩斯成为一个成功的博物馆是至关重要的。题干中主句对应该句末尾介词to的宾语the Barnes's success as a museum，D.中the perfect connection是对文中a relationship的同义转述，故答案为D。A中geographical position是根据文中的location所设的干扰项，第1段只讲巴恩斯博物馆成功的关键在于所在郊区小城的风景与艺术、建筑完美地结合在一起，并非仅仅因其地理位置就成为一所成功的博物馆，故排除A。第2段第2句中提到旧的巴恩斯布局凌乱(rambling)，B中的orderly(井然有序的)显然与此矛盾。文章谈到迁移新址时只是说这一决定无耻地违背了建立者艾伯特·C.巴恩斯的意愿，并没有提及他的影响力，故排除C。

单选题 The biggest challenge architects face in building the new Barnes is______.

【正确答案】 A

【答案解析】根据题干中的challenge和architects将本题出处定位于第2段第1句。第2段第1句提到，对任何一个接受建立新址挑战的建筑师来说，道德和设计问题上的困惑可能是令人无法承受的。题干中的the…challenge就是指文中的the confusion of moral and design questions，最高级biggest是对seem overwhelming的同义转述，故答案为A。同时可以看出，建筑师们感到困惑，而非缺乏足够的自信，故排除C；第3段最后一句中that引导的定语从句说到，这一建筑队列旨在复制旧博物馆的宁静，这说明保持与旧址一样的宁静是可以实现的，算不上最大的挑战，故排除B；第3段第1句结尾提到，这使得它(新的巴恩斯)的面积是旧的巴恩斯的四倍，很明显D中的smaller与此矛盾，故排除。

单选题 According to the passage, the new Barnes will______.

【正确答案】 B

【答案解析】根据题干中的the new Barnes将本题出处定位于第3段第1句。第3段第1句第二个破折号后提到，这使得它的面积是旧的巴恩斯的四倍，B“(新的巴恩斯)比旧的占地面积要大”表述与此一致，故为答案。第3段第1句说到新的巴恩斯的构成部分，可以看出新旧巴恩斯在结构和面积上都存在差别，并非完全相同，故排除A。由第3段第1句可知，新的巴恩斯具有教育的功能(education departments)，C是对此的过度推断，故排除。新的巴恩斯包含很多现代博物馆的特征，但是文章没有说新的巴恩斯在外观上就是现代化的，故D的表述不正确。

单选题 Why does the author oppose to relocate the Barnes?

【正确答案】 C

【答案解析】题干中的relocate Barnes是对原文中be moved的同义转述，故将本题出处定位于第4段最后一句。第4段最后一句中的the failure to do so正是作者极力反对巴恩斯迁址的原因，其中的so指上句中的to preserve the spirit of the original building，C是对此的同义转述，故为答案。第1段中关于巴恩斯迁移新址所引发的是社会上的争议，并且说的是对创立者的不尊重，而非现在的经营者，故排除A；新的巴恩斯变得没有魅力不是因为其复杂的设计，相反，复杂的设计与庞大面积的结合能够复制旧巴恩斯的宁静，而是因为新的巴恩斯无论如何都无法复制旧址的灵魂，故排除B。D是根据文章第5段设的干扰项。

单选题 What do we know about the old Barnes from the fifth paragraph?

【正确答案】 D

【答案解析】根据题干将本题出处定位于第5段最后一句。第5段最后一句提到，正是这些表面上的缺点使巴恩斯成为最迷人的博物馆之一，D是对此的同义转述，其中seeming imperfection与apparent flaws同义，故答案为D。由第5段第2句可知apparent flaws指的就是知名画家和名不见经传画家的画作同挂一室，但这些并没有使巴恩斯降格，而是其更富魅力的关键，故B不正确，同时也排除C；第5段说明旧的巴恩斯不是现代伟大博物馆的典范，故排除A。