阅读理解

Passage 2

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 dismantle 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. What is an architect's responsibility to Barnes's vision of a marvelous but odd collection of early Modern artworks housed in a rambling 1920s BeauxArts pile? Is it possible to reproduce its spirit in such a changed setting? Or does trying to replicate the Barnes's unique atmosphere only doom 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 in the museum world today—conservation and education departments, temporary exhibition space, auditorium, 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 replicate 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 Cezanne, 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 tourists 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】

原文第一段最后一句明确提到“because it threatened to dismantle a relationship among art, architecture and landscape critical to the Barnes’s success as a museum.”,一旦搬迁,巴恩斯美术馆将艺术、建筑、景色融合为一体的成功关键将会受到威胁。选项D的表述正确,故答案选D。

单选题

The biggest challenge architects face in building the new Barnes is ________.

【正确答案】 A
【答案解析】

原文第二段第一句明确提到“For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming.”,任何新空间的设计总会面临道德和设计相冲突的问题。选项A表述正确,故答案选A。

单选题

According to the passage, the new Barnes will ________.

【正确答案】 B
【答案解析】

原文第三段第一句明确提到“…making it four times the size of the old Barnes”,可知新馆比老馆面积大四倍。根据第三段第一句“The new Barnes will include many of the features that have become virtually mandatory in the museum world today—conservation and education departments,”可知新巴恩斯美术馆包括了保护和教育部门,并非转型成为了教育部门,因此选项C错误。根据第二句“…intended to replicate the peacefulness”可判断建筑设计师只是试图复制老博物馆的宁静,并非完全照搬老馆设计且新馆设计也并非完全现代化,因此选项A和D错误。故答案选B。

单选题

Why does the author oppose to relocate the Barnes?

【正确答案】 C
【答案解析】

根据原文第四段第三句“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.”可知尽管每一个设计细节都试图保留原始建筑精神,但是最终还是失败了,而这也是为什么巴恩斯不应换新馆的最强有力的论证。故答案选C。

单选题

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

【正确答案】 D
【答案解析】

原文第五段最后一句明确提出“But these apparent flaws are also what have made the Barnes one of the country's most charming exhibition spaces”,由此可知正是这些明显的缺陷使巴恩斯成为该国最迷人的展览空间之一,选项C错误。根据原文第五段第一句 “the old Barnes is by no means an obvious model for a great museum”可知老巴恩斯绝非博物馆里的好典范,因此选项A错误。根据第二句“mixing masterpieces by … has a distinctly odd flavor.”可知正是这些不同级别的艺术家作品相结合,更突显出了巴恩斯的特色,因此B选项错误。故答案选D。