Architect Frank Lloyd Wright attempted to integrate house and its site.（)

From the passage, we know Frank Uloyd Wright______.

A．is the teacher of Utzon

B．had good effect on the Utzon's architect career

C．was opposite to the rectilinear "international style" of its time

D．forced Utzon to leave Australia

ed to resign and it was never properly finished inside. None of this matters. The Sydney Opera House, by the reclusive Danish architect Jorn Utzon, is the mother and father of all modern landmark buildings. It has come to define not only a city, but an entire nation and continent.

Beyond that, it is a global expression of cultural modernity. Everyone in the world with media access knows what the Sydney Opera House looks like. First designed in 1956 and finally declared completed in 1973, the opera house was the single best known modern building in the world until the arrival of Frank Gehry's equally extraordinary Bilbao Guggenheim in 1997. But it will outlive the Guggenheim as an international architectural icon--because it did all the difficult work tint.

In the pantheon(万神殿) of classic modern buildings, Utzon's creation has the status of myth. The myth states that the unknown architect, then in his thirties, submitted rough sketches to the competition judges, that he ignored most of the rules, that his as only selected after being plucked at the last moment from the rejected pile by one of the judges, and that the design was unbuildable.

But Sydney is remarkable for another reason: it is a complete one-off. It does not fit into any stylistic or chronological category. None of Utzon's other buildings--churches, government departments, house. looks anything like it, and architects today who try to copy his concept always end up looking very second-rate indeed. It is "modern", certainly, but it is an expressive modernism that was quite at odds with the rectilinear(直线的) "international style" of its time. It has more in common with the work of the American genius Frank Uloyd Wright, for whom Utzon worked briefly. Of course its location is an enormous help, sitting as it does on a promontory with water on three sides and the famous Sydney Harbor Bridge as a picture-postcard backdrop. But Utzon masterly exploited the site as nobody else could.

Utzon left Australia in high indignation in 1966, never to return, before he could finish designing the interiors.

As with Sir Christopher Wren at St Paul's Cathedral, Utzon was humiliated and removed from overseeing the final stages of his masterwork. But for all his manifold difficulties, which other contemporary architect can claim an equivalent achievement？ The Sydney Opera House showed us that anything is possible, and it demonstrated that sheer, seductive beauty for its own sake is nothing to be ashamed of.

It can be inferred from the passage that ______.

A．the Danish architect Join Utzon totally failed in his design of Sydney Opera House and was forced to resign

B．the Danish architect Jorn Utzon has been made known as the founder of all the modern landmark buildings, in spite of his part failure in his design of Sydney Opera House

C．Sydney Opera House is hopelessly ugly and has never been finished inside

D．Sydney Opera House is the single best known modern building in the world up to now

and growth, with soldiers returning home by the millions, going off to college on the G. I. Bill and lining up at the marriage bureaus.

But when it came to their houses, it was a time of common sense and a belief that less could truly be more. During the Depression and the war, Americans had learned to live with less, and that restraint, in combination with the postwar confidence in the future, made small, efficient housing positively stylish.

Economic condition was only a stimulus for the trend toward efficient living. The phrase " less is more" was actually first popularized by a German, the architect Ludwig Mies van der Rohe, who like other people associated with the Bauhaus, a school of design, emigrated to the United States before World War II and took up posts at American architecture schools. These designers came to exert enormous influence on the course of American architecture, but none more so that Mies.

Mies's signature phrase means that less decoration, properly organized, has more impact than a lot. Elegance, he believed, did not derive from abundance. Like other modern architects, he employed metal, glass and laminated wood—materials that we take for granted today buy that in the 1940s symbolized the future. Mies's sophisticated presentation masked the fact that the spaces he designed were small and efficient, rather than big and often empty.

The apartments in the elegant towers Mies built on Chicago's Lake Shore Drive, for example, were smaller—two-bedroom units under 1, 000 square feet—than those in their older neighbors along the city's Gold Coast. But they were popular because of their airy glass walls, the views they afforded and the elegance of the buildings' details and proportions, the architectural equivalent of the abstract art so popular at the time.

The trend toward "less" was not entirely foreign. In the 1930s Frank Lloyd Wright started building more modest and efficient houses—usually around 1, 200 square feet—than the spreading two-story ones he had designed in the 1890s and the early 20th century.

The " Case Study Houses" commissioned from talented modern architects by California Arts & Architecture magazine between 1945 and 1962 were yet another homegrown influence on the "less is more" trend. Aesthetic effect came from the landscape, new materials and forthright detailing. In his Case Study House, Ralph Rapson may have mispredicted just how the mechanical revolution would impact everyday life—few American families acquired helicopters, though most eventually got clothes dryers—but his belief that self-sufficiency was both desirable and inevitable was widely shared.

The postwar American housing style. largely reflected the Americans'_________.

A．prosperity and growth

B．efficiency and practicality

C．restraint and confidence

D．pride and faithfulness

The architect Sir John Vanbrugh designed Blenheim Palace.()

A.70cm

B.65cm

C.60cm

D.75cm

A.Pioneer

B.Architect

C.Prisma

A.IR

B.DST

C.压缩感知

D.MAGiC

L/C calls for an architect's certificate signed by a "well-known local architect".

Documentation presented includes signed architect's certificate but does not state "well-known". The negotiating bank will

(1)( ) determine whether architect is "well-known" and then decide whether to pay.

(2)( ) treat as irregular and refer to issuing bank for permission to pay.

(3)( ) accept the document as presented.