A few years back, the decision to move the Barnes, a respected American art

游客2023-07-19 13

问题 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 dismantle (拆开) 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 (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 replicate (复制) 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 (强制性的) in the museum world today — conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe — 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 tourist dollars. For most visitors the relationship to the art will feel less immediate. [br] According to the passage, the new Barnes will______.

选项 A、be completely the same as the old one
B、take up more space than the old one
C、be changed into an art education center
D、be forced to be modern in appearance

答案 B

解析第三段首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。第三段首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]。由第三段首句可知，新的巴恩斯具有教育的功能(education departments)，[C]是对其的过度推断，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。

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A few years back, the decision to move the Barnes, a respected American art

[originaltext]Formanyyears,peopleinAmericancitieshavedependedonfa

[originaltext]Formanyyears,peopleinAmericancitieshavedependedonfa

[originaltext]Formanyyears,peopleinAmericancitieshavedependedonfa