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

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

游客2023-07-20  50
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, Albeit 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] Why does the author oppose to relocate the Barnes?
选项 A、The relocation means disrespect to the person who runs it.
B、Architectures’ complicated design will make the museum charmless.
C、The spirit of the old Barnes will be gone in a different place.
D、The multiple functions of the new Barnes will destroy the collection.
答案 C
解析 第四段末句中的The failure to do so正是作者极力反对巴恩斯迁址的原因，其中的so指上句中的to preserve the spirit of the original building，[C]是对此的同义转述，故为答案。首段中关于巴恩斯迁移新址所引发的是社会上的争议，且说的是对创立者的不尊重，而非现在的经营者，故排除选项[A]；新的巴恩斯变得没有魅力不是因为其复杂的设计，相反，复杂的设计和庞大面积的结合能够复制旧巴恩斯的宁静，而是因为新的巴恩斯无论如何都无法复制旧址的灵魂，故排除[B]。[D]是根据文章第五段设的干扰项。
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