Bên cạnh PHÂN TÍCH ĐỀ THI THẬT TASK 2 (dạng advantages & disadvantages) NGÀY 04/8/2020 IELTS WRITING GENERAL MÁY TÍNH (kèm bài được sửa hs đi thi), IELTS TUTOR cũng cung cấp Đề thi IELTS READING: British Architecture 2.
I. Kiến thức liên quan
II. Làm bài online (kéo xuống cuối bài blog để xem giải thích từ vựng, cấu trúc, dịch & Đáp án with LOCATION cụ thể hơn)
III. Đề thi IELTS READING: British Architecture 2
A. Architecture is about evolution, not revolution. It used to be thought that once the Romans pulled out of Britain in the fifth century, their elegant villas, carefully-planned towns and engineering marvels like Hadrian’s Wall simply fell into decay as British culture was plunged into the Dark Ages. It took the Norman Conquest of 1066 to bring back the light, and the othic cathedral-builders of the Middle Ages played an important part in the revival of British culture. However, the truth is not as simple as that Romano-British culture – and that included architecture along with language, religion, political organization and the arts – survived long after the Roman withdrawal. And although the Anglo- Saxons had a sophisticated building style of their own, little survives to bear witness to their achievements as the vast majority of Anglo-Saxon buildings were made of wood.
B. Even so, the period between the Norman landing at Pevensey in 1066 and the day in 1485 when Richard III lost his horse and his head at Bosworth, ushering in the Tudors and the /Early Modern period, marks a rare flowering of British building. And it is all the more remarkable because the underlying ethos of medieval architecture was ‘fitness for purpose’. The great cathedrals and parish churches that lifted up their towers to heaven were not only acts of devotion in stone; they were also fiercely functional buildings. Castles served their particular purpose and their battlements and turrets were for use rather than ornament. In a sense, the buildings of the 16th century were also governed by fitness for purpose – only now, the purpose was very different. In domestic architecture, in particular, buildings were used to display status and wealth.
C. This stately and curious workmanship showed itself in various ways. A greater sense of security led to more outward-looking buildings, as opposed to the medieval arrangement where the need for defense created houses that faced inward onto a courtyard or series of courtyards. This allowed for much more in the way of exterior ornament. The rooms themselves tended to be bigger and lighter – as an expensive commodity, the use of great expanses of glass was in itself a statement of wealth. There was also a general move towards balanced and symmetrical exteriors with central entrances.
D. With the exception of Inigo Jones (1573-1652), whose confident handling of classical detail and proportion set him apart from all other architects of the period, most early 17th century buildings tended to take the innocent exuberance of late Tudor work one step further. /But during the 1640s and 50s the Civil War and its aftermath sent many gentlemen and nobles to the Continent either to escape the fighting or, when the war was lost, to follow Charles II into exile. There they came into contact with French, Dutch and Italian architecture and, with Charles’s restoration in 1660, there was a flurry of building activity as royalists reclaimed their property and built themselves houses reflecting the latest European trends. The British Baroque was a reassertion of authority, an expression of absolutist ideology by men who remembered a world turned upside down during the Civil War. The style is heavy and rich, sometimes overblown and melodramatic. The politics which underpin it are questionable, but its products are breathtaking.
E. The huge glass-and-iron Crystal Palace, designed by Joseph Paxton to house the Great Exhibition of 1851, shows another strand to 19th century architecture – one which embraced new industrial processes. But it wasn’t long before even this confidence in progress came to be regarded with suspicion. Mass production resulted in buildings and furnishings that were too perfect, as the individual craftsman no longer had a major role in their creation. Railing against the dehumanising effects of industrialisation, reformers like John Ruskin and William Morris made a concerted effort to return to hand-crafted, pre-industrial manufacturing techniques. Morris’s influence grew from the production of furniture and textiles, until by the 1880s a generation of principled young architects was following his call for good, honest construction.
F. The most important trends in early 20th century architecture simply passed Britain by. Whilst Gropius was working on cold, hard expanses of glass, and Le Corbusier was experimenting with the use of reinforced concrete frames, we had staid establishment architects like Edwin Lutyens producing Neo-Georgian and Renaissance country houses for an outmoded landed class. In addition there were slightly batty architect-craftsmen, the heirs of William Morris, still trying to turn the clock back to before the Industrial Revolution by making chairs and spurning new technology. Only a handful of Modern Movement buildings of any real merit were produced here during the 1920s and 1930s, and most of these were the work of foreign architects such as Serge Chermayeff, Berthold Lubetkin and Erno Goldf inger who had settled in this country.
G. After the Second World War the situation began to change. The Modern Movement’s belief in progress and the future struck a chord with the mood of post-war Britain and, as reconstruction began under Attlee’s Labour government in 1945, there was a desperate need for cheap housing which could be produced quickly. The use of prefabricated elements, metal frames, concrete cladding and the absence of decoration – all of which had been embraced by Modernists abroad and viewed with suspicion by the British - were adopted to varying degrees for housing developments and schools. Local authorities, charged with the task of rebuilding city center, became important patrons of architecture. This represented a shift away from the private individuals who had dominated the architectural scene for centuries.
H. Since the War it has been corporate bodies like these local authorities, together with national and multinational companies, and large educational institutions, which have dominated British architecture. By the late 1980s the Modern Movement, unfairly blamed for the social experiments implicit in high-rise housing, had lost out to irony and spectacle in the shape of post-modernism, with its cheerful borrowings from anywhere and any period. But now, in the new Millennium, even post-modernism is showing signs of age. What comes next? Post-post-modernism?
Questions 28-34
Complete the sentences below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Write your answers in boxes 28-34 on your answer sheet.
28. The Anglo-Saxon architecture failed to last because the buildings were constructed in……..
29. Different from the medieval architecture, the buildings of the 16th century represents………..
30. The costly glass was applied widely as an…………..in that years.
31. Inigo Jones was skilled at handling……..style.
32. William Morris favored the production of ……… made in pre-industrial manufacturing techniques.
33. The architects such as………..provided the landlord with conservative houses.
34. After World War Two, the architect commission shifted from individual to…………..
Questions 35-40
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes 35-40 on your answer sheet.
35. The feature of medieval architecture was
A. immense
B. useful
C. decorative
D. bizarre
36. What contributes to the outward-looking buildings in the 16th century?
A. safety
B. beauty
C. quality
D. technology
37. Why were the buildings in the 1660s influenced by the latest European trends?
A. Because the war was lost.
B. Because the craftsman came from all over the Europe.
C. Because the property belongs to the gentlemen and nobles.
D. Because the monarch came back from the continent.
38. What kind of sense did the British Baroque imply?
A. tough
B. steady
C. mild
D. conservative
39. The individual craftsman was no more the key to creation for the appearance of
A. Crystal Palace
B. preindustrial manufacturing return
C. industrial process in scale
D. ornament
40. The building style changed after World War Two as a result of
A. abundant materials
B. local authority
C. shortage of cheap housing
D. conservative views
IV. Dịch bài đọc
A. Kiến trúc là về sự tiến hóa (evolution - development, progression, growth), không phải cách mạng (revolution - upheaval, transformation, rebellion). Người ta từng cho rằng khi người La Mã rút khỏi Anh vào thế kỷ thứ năm, những biệt thự sang trọng (elegant villas - refined mansions, luxurious estates, stately homes), thị trấn được quy hoạch cẩn thận và kỳ quan kỹ thuật (engineering marvels - technical wonders, architectural feats, structural miracles) như Tường Hadrian đã rơi vào suy tàn (decay - decline, deterioration, collapse), đẩy văn hóa Anh vào Thời kỳ Đen tối (Dark Ages - medieval era, obscurity, ignorance). Phải đến Cuộc chinh phục của Norman (Norman Conquest - Norman invasion, 1066 conquest, feudal takeover) năm 1066, ánh sáng mới trở lại, với các nhà xây dựng nhà thờ Gothic (Gothic cathedral-builders - medieval architects, pointed-arch designers, ecclesiastical constructors) đóng vai trò quan trọng trong sự phục hưng (revival - resurgence, rebirth, renewal) văn hóa Anh. Tuy nhiên, sự thật phức tạp hơn: văn hóa La Mã-Anh (Romano-British culture - Roman-British heritage, classical influence, hybrid society)—bao gồm kiến trúc, ngôn ngữ, tôn giáo—vẫn tồn tại lâu sau khi La Mã rút lui (withdrawal - retreat, departure, exit). Dù người Anglo-Saxon (Anglo-Saxons - ancient Britons, early English tribes, Germanic settlers) có phong cách xây dựng tinh vi (sophisticated - advanced, refined, elaborate), rất ít công trình còn sót lại do phần lớn (vast majority - overwhelming majority, bulk, preponderance) nhà cửa của họ làm bằng gỗ.
B. Giai đoạn từ 1066 (khi Norman đổ bộ lên Pevensey) đến 1485 (khi Richard III thất trận tại Bosworth, mở đầu thời kỳ Tudor (Tudors - Tudor dynasty, early modern era, 16th-century reign) đánh dấu sự nở rộ hiếm có của kiến trúc Anh. Điều đáng chú ý là triết lý cốt lõi (underlying ethos - core philosophy, foundational belief, guiding principle) của kiến trúc trung cổ là "phù hợp mục đích" (fitness for purpose - functionality, practicality, utility). Các nhà thờ giáo xứ (parish churches - local churches, community chapels, ecclesiastical buildings) vươn cao tháp chuông không chỉ là biểu tượng tôn giáo mà còn cực kỳ thiết thực (functional - practical, useful, serviceable). Lâu đài với tường thành (battlements - fortifications, ramparts, parapets) và tháp canh (turrets - watchtowers, spires, pinnacles) phục vụ mục đích phòng thủ, không mang tính trang trí (ornament - decoration, embellishment, adornment). Đến thế kỷ 16, kiến trúc dân dụng (domestic architecture - residential buildings, home design, house construction) lại phản ánh địa vị (status - prestige, rank, standing) và sự giàu có (wealth - affluence, prosperity, riches).
C. Sự trang trọng và tinh xảo (stately and curious workmanship - grand and intricate craftsmanship, dignified artistry, elaborate detailing) thể hiện qua nhiều khía cạnh. Khi an ninh được cải thiện, các công trình hướng ngoại (outward-looking - extroverted, open-facing, externally oriented) thay thế thiết kế hướng nội (medieval arrangement - inward-facing layouts, enclosed courtyards, defensive structures) thời trung cổ. Điều này cho phép trang trí ngoại thất (exterior ornament - external decoration, facade embellishment, surface detailing) phát triển. Các phòng lớn hơn, sáng hơn nhờ kính (commodity - glass panes, windows, glazing)—vật liệu đắt đỏ thể hiện sự giàu có. Xu hướng đối xứng (symmetrical exteriors - balanced facades, mirrored designs, proportional layouts) với lối vào trung tâm (central entrances - main doorways, focal gateways, centered access) cũng phổ biến.
D. Trừ Inigo Jones (1573-1652)—người nổi bật nhờ chi tiết cổ điển (classical detail - traditional elements, ancient motifs, Greco-Roman features) và tỷ lệ cân đối (proportion - harmony, balance, symmetry)—phần lớn kiến trúc đầu thế kỷ 17 kế thừa sự phóng khoáng (innocent exuberance - naive vitality, unrestrained enthusiasm, playful energy) thời Tudor. Nội chiến (Civil War - English Civil War, 1640s conflict, parliamentary revolt) những năm 1640-50 khiến giới quý tộc di cư sang châu Âu, tiếp xúc với kiến trúc Pháp, Hà Lan, Ý. Khi Charles II phục hồi ngai vàng (Charles’s restoration - monarchy reinstatement, royal return, 1660 revival), làn sóng xây dựng kiến trúc Baroque (Baroque - ornate style, dramatic aesthetics, extravagant design) bùng nổ—một khẳng định quyền lực (reassertion of authority - power demonstration, dominance reaffirmation, control revival) sau hỗn loạn. Phong cách này phô trương (overblown - exaggerated, excessive, ostentatious) và kịch tính (melodramatic - theatrical, sensational, overemotional), nhưng để lại tác phẩm kinh ngạc (breathtaking - awe-inspiring, stunning, magnificent).
E. Cung Điện Pha Lê (Crystal Palace - glass exhibition hall, Paxton’s structure, 1851 pavilion) bằng kính và sắt của Joseph Paxton (1851) thể hiện quá trình công nghiệp hóa (industrial processes - mechanized production, factory systems, technological advancements). Tuy nhiên, sản xuất hàng loạt (mass production - bulk manufacturing, assembly-line output, standardized creation) khiến đồ đạc quá hoàn hảo (too perfect - overly precise, impersonal, soulless), làm thợ thủ công mất vai trò. Phản đối tác động phi nhân hóa (dehumanising effects - depersonalization, mechanization, alienation) của công nghiệp, các nhà cải cách như John Ruskin và William Morris vận động sản xuất thủ công (hand-crafted - artisanal, handmade, traditional techniques). Đến thập niên 1880, thế hệ kiến trúc sư trẻ theo đuổi kết cấu chân thực (honest construction - authentic building, straightforward design, integrity in materials).
F. Đầu thế kỷ 20, xu hướng kiến trúc toàn cầu (nhà kính của Gropius, khung bê tông cốt thép (reinforced concrete frames - steel-reinforced structures, modern frameworks, industrial supports) của Le Corbusier) hầu như không ảnh hưởng đến Anh. Thay vào đó, kiến trúc sư như Edwin Lutyens xây biệt thự Tân Georgia (Neo-Georgian - Georgian revival, classical-inspired homes, 18th-century replicas) cho tầng lớp quý tộc lỗi thời. Nhóm thợ-thủ-quái dị (batty architect-craftsmen - eccentric designers, quirky builders, unconventional artisans) kế thừa Morris vẫn từ chối công nghệ (spurning new technology - rejecting innovation, dismissing machinery, resisting progress). Rất ít công trình Hiện Đại (Modern Movement - modernist style, avant-garde architecture, contemporary design) chất lượng xuất hiện ở Anh thập niên 1920-30, phần lớn do kiến trúc sư nhập cư như Chermayeff, Lubetkin, và Goldfinger thiết kế.
G. Sau Thế chiến II, Chủ nghĩa Hiện Đại (Modern Movement - modernist ideology, progressive design, functionalist approach) phù hợp với tinh thần tái thiết của Anh. Chính phủ Lao động của Attlee (1945) ưu tiên nhà ở giá rẻ (cheap housing - affordable homes, low-cost residences, budget dwellings) xây nhanh (quickly - rapidly, swiftly, efficiently) bằng cấu kiện đúc sẵn (prefabricated elements - pre-made parts, modular components, factory-built sections), khung kim loại (metal frames - steel structures, iron skeletons, industrial frameworks), và bê tông (concrete cladding - cement panels, concrete coating, industrial surfacing). Chính quyền địa phương (Local authorities - municipal councils, regional governments, city planners) trở thành nhà bảo trợ (patrons - sponsors, supporters, funders) kiến trúc chính, thay thế tư nhân—sự thay đổi (shift - transition, change, transformation) lớn sau hàng thế kỷ.
H. Từ sau 1945, tập đoàn (corporate bodies - companies, organizations, institutions) và đa quốc gia (multinational companies - global firms, international corporations, cross-border enterprises) chi phối kiến trúc Anh. Đến cuối thập niên 1980, Chủ nghĩa Hiện Đại bị chỉ trích vì nhà cao tầng (high-rise housing - skyscrapers, tower blocks, apartment complexes) thử nghiệm xã hội thất bại, nhường chỗ cho hậu hiện đại (post-modernism - eclectic style, playful design, historical pastiche) với vay mượn đa dạng (cheerful borrowings - eclectic influences, diverse inspirations, mixed references). Sang thiên niên kỷ mới (new Millennium - 21st century, modern era, contemporary age), ngay cả hậu hiện đại cũng lỗi thời. Liệu hậu-hậu hiện đại (post-post-modernism - metamodernism, neo-eclecticism, contemporary hybridity) sẽ là tương lai?
V. Giải thích từ vựng
VI. Giải thích cấu trúc ngữ pháp khó
IELTS TUTOR lưu ý:
- 28. wood
- 29. status and wealth
- 30. expensive commodity
- 31. classical
- 32. furniture and textiles
- 33. Edwin Lutyens
- 34. local authorities
- 35. B
- 36. A
- 37. D
- 38. A
- 39. C
- 40. C
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