Text 3 We 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.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 than 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 woodmaterials that we take for granted today but 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—twobedroom 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 twostory 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 selfsufficiency was both desirable and inevitable was widely shared.What is true about the apartments Mies building Chicago's Lake Shore Drive?A.They ignored details and proportions.B.They were built with materials popular at that time.C.They were more spacious than neighboring buildings.D.They shared some characteristics of abstract art.
Text 3 We 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.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 than 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 woodmaterials that we take for granted today but 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—twobedroom 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 twostory 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 selfsufficiency was both desirable and inevitable was widely shared.
What is true about the apartments Mies building Chicago's Lake Shore Drive?
What is true about the apartments Mies building Chicago's Lake Shore Drive?
A.They ignored details and proportions.
B.They were built with materials popular at that time.
C.They were more spacious than neighboring buildings.
D.They shared some characteristics of abstract art.
B.They were built with materials popular at that time.
C.They were more spacious than neighboring buildings.
D.They shared some characteristics of abstract art.
参考解析
解析：推理题【命题思路】这是一道封闭式推理题，需要对文章第五段的信息进行锁定，从而推理判断得出答案。【直击答案】根据题干信息定位到第五段第二句“But they…at the time.”。大意是“但它们非常流行，因为它们有轻薄的玻璃墙，美丽的景观以及高雅的建筑细节以及比例，而这些建筑特点等同于当时受欢迎的抽象艺术。”通过“这些建筑特点等同于当时受欢迎的抽象艺术”这句话可以判断出这些建筑和抽象艺术有相同的特征，D项正确。【干扰排除】由第五段第二句“the elegance of the buildings'details and proportions”可知“建筑的细节和比例的高雅”，A项中“ignore”与原文信息相反，故错误。B项将第五段第二句“the architectural equivalent…at the time.”中的“the architectural”偷换成了“materials”，故错误。由文章第五段首句“…were smallertwobedroom units…than those in their older neighbors…”，可知C项中的“more spacious”与原文“smaller”相反，故C项不选。
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