??联系真题去背专业课啊亲！你都不晓得你无视的有些能有多大分值，你也不晓得你认为的（或许别人让你认为的）要点也不过就那点分！（特别是连书目都没给的学校）

以下文章，空行分段，划线有些是该段中心句，红字是亮光自个认为的期间粗心，文章中的蓝字为解题句，选项里的蓝色则是正确选项，期望有助于我们食用。

①we tend to think of the decades immediately following world war ii as a time of prosperity 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.

咱们更情愿认为，紧紧跟从二战后的几十年是一段昌盛和打开的时刻段，数百万兵士回来家乡，根据g.a.法案走进大学而且排上了断婚所的部队。

这篇文章讲的是二战后几十年的昌盛和打开时期。

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①but when it came to their houses, it was a time of common sense and a belief that less could truly be more.

可是当来到他们的房子，这个时刻段，群众的共同而且崇奉少就是多。

②during the depression and the war, americans had learned to live with less, and that restraint, in combination（联系、联合）?with the postwar confidence in the future, made small, efficient housing positively stylish.（31）

在世界大战和大惨白时期，美国人学会了简略的日子，而且捆绑抑制，联系对战后将来的自傲，使得小的、有功率的房子非常盛行。

战后我们信赖少就是多，在美国盛行小的、高效的房子。

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①economic condition was only a stimulus for the trend toward efficient living.?

经济条件只是致使高效住所的一个影响要素。

②the 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（包豪斯建筑学派）, a school of design, emigrated（移民）?to the united states before world war ii and took up posts at american architecture schools.

短语“少就是多”实践上是经过德国建筑师lmvdr最早盛行起来的，他是和方案学院——包豪斯建筑学派的其他有关人士相同，在二战之前移民到了美国，而且在美国建筑学校的岗位上作业。

③these designers came to exert enormous influence on the course（课程、路途）?of american architecture, but none more so than mies.（32）

这些方案师在美国建筑的进程中发扬了无量的影响力，可是没

有一自个的影响能比密斯大。

影响美国房子个性的重要缘由之一是建筑方案师的盛行风气。

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①mies’s signature phrase means that less decoration（装饰）, properly organized, has more impact than a lot. （33）

密斯的标志性短语的意思是：更少的装饰，恰当地组织，比起冗杂用更多的作用。

②elegance, he believed, did not derive from abundance. （33）

他信赖，典雅并不源于丰厚。

③like other modern architects, he employed metal（金属、合金）, glass and laminated（层压的、薄板状的）?wood—materials（材料）?that we take for granted today but that in the 1940s symbolized the future.

像是其他的现代建筑师，他运用金属、玻璃和层积木——这些材料咱们今日的确常常运用，可是在20世纪40年代，这种材料标志着将来。

④mies’s sophisticated（凌乱的、精美的、圆滑的）?presentation masked（点缀、戴面具）?the fact that the spaces he designed were small and efficient, rather than big and often empty（空的、无意义的）.（33）

密斯的精巧展示点缀了实践上他所方案的空间的小而高效，而不是大且空阔。

影响美国建筑个性的建筑师——密斯的“少就是多”的具体说明。

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①the apartments in the elegant towers mies built on chicago’s lake shore（海边）?drive, for example, were smaller（34）—two-bedroom units under 1,000 square（平方的）?feet（脚、尺）—than those in their older neighbors along the city’s gold coast.

例如，密斯在芝加哥湖海公路建筑的典雅公寓，比黄金海岸的接近的老房子都要小——两个卧室不到1000平方英尺。

②but 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.（34）

可是这个公寓很受等待，因为它的空气玻璃墙，可呈现的视界和典雅的建筑细节以及比例巨细，这种建筑和其时的笼统艺术相同受等待。

举例，密斯的某公寓就因为“少就是多”的理念倍受等待。

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①the trend toward “less” was not entirely foreign.

这种“节约”的趋势并不完全来自国外。

②in the 1930s frank lloyd wright started building more modest and efficient houses—usually around 1,200 square feet—than the spreading two-storey（两层的）?ones he had designed in the 1890s and the early 20 thcentury.

在20世纪30年代，flw初步建筑比他在19世纪90年代和20世纪前期所方案的两层楼的房子愈加适度和有用的房子——常常面积1200平方英尺。

“少就是多”的盛行风气不完全源于国外。

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①the “case study houses” commissioned from talented modern architects?by california arts & architecture magazine between 1945 and 1962 were yet another homegrown（国产的）?influence on the “less is more” trend.

在1945到1962年间，加利福尼亚艺术和建筑杂志托付的天才方案师（所作品）“房子学习事例”，也是另一种“少就是多”趋势的国内影响。

②aesthetic（美的、美学的、审美的）?effect came from the landscape（风光）, new materials and forthright（直爽的）?detailing. （35）

美的作用来自风光、新的材料和直接的细节。

③in his case study house, ralph rapson may have mispredicted just how the mechanical（机械的、力学的、无知道的）?revolution would impact everyday life—few american families acquired helicopters（直升机）, though most eventually got clothes dryers（烘干机）—but his belief that self-sufficiency was both desirable（可取的、令人神往的）?and inevitable（必定的）?was widely shared.

在他的房子学习事例中，rr可以差错猜测了机械改造如何影响了每日的日子——很稀有美国家庭获得了直升机，尽管大都人究竟获得了衣裳烘干机——可是他的自给自足是盼望且不可以避免的观念是被广泛共同了的。

有一本国内的“房子学习事例”也体现了“少就是多”。

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31.?the postwar american housing style largely reflected the americans’______.

战后美国人的房子个性很大程度上反映了美国人的

[a]?prosperity and growth

昌盛与打开（这是战后时期的全体描绘，不是美国人的特征）

[b]?efficiency and practicality

功率和有用（功率是房子个性，有用压根没有）

[c]?restraint and confidence

捆绑和自傲（是的，美国人的捆绑和自傲）

[d]?pride and faithfulness

自傲和诚信（自傲有，诚信没有啊）

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32.?which of the following can be inferred from paragraph 3 about bauhaus?

关于包豪斯学院咱们可以从第三段中揣度出啥

[a]?it was founded by ludwig mies van der rohe.

它是由lmvdr所创建的（不是他创建的，他只是和包豪斯的其他方案师相同二战到美国日子了）

[b]?its designing concept was affected by world war ii.

它的方案观念遭到二战的影响（不，人家学院的方案师二战前就移民美国而且任职发生影响了。）

[c]?most american architects used to be associated with it.

大大都美国建筑师曩昔都与它有相关（most这种程度副词没有清楚的同义复现或许原词复现，就不能随意选）

[d] it had a great influence upon american architecture.

对美国的建筑有很大的影响（原文同义复现，挑不犯错的选项）

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33.?mies held that elegance of architectural design ______.

密斯认为，建筑方案的典雅

[a]?was related to large space

与大空间有联络（不，要小）

[b]?was identified with emptiness

被认同于空阔（不，是小而精美）

[c]?was not reliant on abundant decoration

不依靠丰厚的装饰（是的）

[d]?was not associated with efficiency

和功率没联络?（有关，小而高效）

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34.?what is true about the apartments mies built on chicago’s lake shore drive?

关于密斯在芝加哥湖海公路建筑的公寓的描绘，正确的是

[a]?they ignored details and proportions.

它们无视了细节和比例（和原文相反）

[b]?they were built with materials popular at that time.

它们用其时盛行的材料建成（不，是其时来看很将来的材料建成的）

[c]?they were more spacious than neighboring buildings.

它们比邻近的建筑物要更大空间（相反）

[d]?they shared some characteristics of abstract art.

他们一起具有一些笼统艺术的特征（对的）

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35.?what can we learn about the design of the “case study house”?

咱们可以从“房子学习事例”的方案中晓得啥

[a]?mechanical devices were widely used.

机械设置被广泛运用（没啊，差错猜测了啊）

[b]?natural scenes were taken into account.

天然风光被核算在内（natural scenes是landscape的同义改写，正确，趁便找个同义替换可以有人认不出来，因为有人landscape都不晓得啥意思，是的就是我）

[c]?details were sacrificed（牺牲）?for the overall effect.

为了全体作用牺牲细节（没啊，而且不是一向遵循侧注重细节吗）

[d]?eco-friendly materials were employed.

环境友爱材料被运用（没说材料是不是环境友爱）

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