Passage 2 历史
 

1. 卷

内容	Historical Trends in European Urban Design
	Paragraph 1
	European city planning and design have a long history. Most
	Greek and Roman settlements were deliberately laid out on the
	grid system, within which the siting of key buildings was
	carefully thought out. The roots of modern Western urban
	planning and design can be traced to the Renaissance and
	Baroque periods (between the fifteenth and seventeenth
	centuries) in Europe, when artists and intellectuals dreamed of
	ideal cities, and rich and powerful regimes used urban design
	to produce extravagant symbolizations of wealth, power, and
	destiny. Inspired by the classical art forms of ancient Greece
	and Rome, Renaissance urban design sought to recast cities
	in a deliberate attempt to show off the power and the glory of
	the state and church.
	Paragraph 2
	Spreading slowly from its origins in Italy at the beginning of the
	fifteenth century, Renaissance design successfully diffused to
	most of the larger cities of Europe. Dramatic advances in

weaponry brought a surge ofplanned redevelopment that featured impressive geometric-shaped fortifications and an extensive sloping,
clear zone of fire. Inside new walls, cities were recast according to a new aesthetic of grand design， fancy palaces, geometrical plans,
streetscapes, and gardens that emphasized views of dramatic perspectives. These developments were often so extensive and so
interconnected with each other that they effectively fixed the layout of cities well into the eighteenth, and even into the nineteenth, century,
when walls and/or open spaces eventually made way for urban redevelopment in the form of parks, railway lines, or beltways. Paragraph 3
 
As societies and economies became more complex with the transition to industrial capitalism, national rulers and city leaders looked to
urban design to impose order, safety, and efficiency, as well as to symbolize the new seats of power and authority. The most important early
precedent was set in Paris by Napoleon III, who presided over a comprehensive program of urban redevelopment and monumental urban
design. The work was carried out by Baron Georges-Eugene Haussmann between 1853 and 1870. Haussmann demolished large sections
of old Paris to make way for broad, new, tree-lined
 
avenues, with numerous public open spaces and monuments.
 
In doing so, he made the city not only more efficient (wide
 
boulevards meant better flows of traffic) and a better place to
 
live (parks and gardens allowed more fresh air and sunlight in
 
a crowded city and were held to be a civilizing influence) but
 
also safer from revolutionary politics (wide boulevards were
 
hard to barricade; monuments and statues helped to instill a
 
sense of pride and identity).
 
Paragraph 4
 
The preferred architectural style for these new designs was the Beaux Arts style. In this school, architects were trained to draw on Classical,
Renaissance, and Baroque
 
styles, synthesizingthem in designs for new buildings for the Industrial Age. The idea was that the new buildings would blend artfully with the
older palaces, cathedrals, and civic buildings that dominated European city centers. Haussmann's ideas were widely influential and
extensively copied. Paragraph 5
 
Early in the twentieth century there emerged a different intellectual and artistic reaction to the pressures of industrialization and urbanization.
This was the Modern movement, which was based on the idea that buildings and
 
cities should be designed and run like machines. Equally important to the Modernists was that urban design should not simply reflect dominant
social and cultural values but, rather, help to create a new moral and social order. The movement's best-known advocate was Le Corbusier,
a Paris-based Swiss who provided the inspiration for technocratic urban design. Modernist buildings sought to dramatize technology, exploit
industrial production techniques, and use modern materials and unembellished, functional design. Le Corbusier's ideal city featured linear
clusters of high-density, medium-rise apartment blocks, elevatedon stilts and segregated from industrial districts; high-rise tower office blocks;
and transportation routes all separated by broad expanses of public open space. Paragraph 6
 
After 1945 this concept of urban design became pervasive, part of what became known as the International Style: boxlike steel-frame buildings
with concrete-and-glass facades. The International Style was avant-garde yet respectable and, above all, comparatively inexpensive to build.
This tradition of urban design, more than anything else, has imposed a measure of uniformity on cities around the world.
 
考题解析 老题重现

难度分析及注意事							适中
			项
	Passage 3						人类
			A  卷
			内容				尼罗河对于埃及农业发展的作用
		考题解析					老题，句子难度正常
难度分析及注意事							适中
			项
	Passage 1						地质
			B  卷
			内容				新发现峡谷里的河流，讲科学家发现一条峡谷里有大洪水，其他
							科学家质疑，后面用技术找到大洪水痕迹原来时冰湖融化导致的
		考题解析					常考话题，考生较熟
难度分析及注意事							适中
项
	Passage 2						地质
			B  卷
			内容				Early life-forms and Earth's atmosphere
							早期细菌的进化为后面地球和复杂有机体的发展奠定了基础。地
							球早期没有氧气，有 Methane 和 carbon dioxide 帮助地球 keep
							warm，那会太阳无法提供足够的热量。对比现在地球的各种气

						青岛智美托福考试回忆 TOEFL Test Review—Qingdao SmartUS
							体成分。提到早期动物 confined to ocean 的原因，没有 protective
							layer against UV radiation，海洋的水可以提供保护。
		考题解析					老题重现
难度分析及注意事							适中
项
	Passage 3						生物
			B  卷
			内容				一种恐龙，前后脚跟和别的恐龙不一样，脚趾重又大，心脏好，
							呼吸系统好
		考题解析					常练话题
难度分析及注意事							适中
项
	Passage 1						生物
			C  卷
			内容				Distribution of seaweeds
							Seaweed 生长在一些 artificial 东西的表面，有的是 selective, 有
							的是 unselective。在 inner 和 outer continental 的分布是有区别
							的因为阳光的原因。同时提到了补偿深度（compensative
							depth），其中一个理论是色彩学（chromatics），就是绿的红
							的棕的水藻（algae）,因为光在海水的折射深度不同，不同颜色
							藻类的垂直分布（verticaldistribution）就不同。温度会影响藻类
							的水平分布。热带地区（tropical）和亚热带地区(subtropical)不

							一样，有个例外是潮间带（intertidal area），后来说到 100
							多年后意识到这个 depend more onother factors.
		考题解析					网上可搜到原文
难度分析及注意事							适中
项
	Passage 2						社会
			C  卷
			内容				Artisans in Sixteenth-Century Europe
							文章分段概括：
							第一段，欧洲工匠几个世纪以来运作于小的独立的工业中，之后
							进化的经济系统(向现代资本主义)开始腐蚀欧洲稳定和繁荣位
							置。什么导致了工匠的减少?一共两句话，第一句是长难句。
							第二段，几个世纪之后技术的革新花费了工匠更多的钱。举例，
							铁的生产需要的特殊设备。因此，设备需要的资金高涨了。
							第三段，然而原材料组成了工匠的主要花费。silk weaver 举例展
							地的材料可以避免依赖于供应商。当地材料的损失就会对工匠来
							说非常糟糕。
							第四段，对于生产很重要的信用(credit)却容易对工匠产生额外的
							伤害。产品价格的落后，coupled with 税的增加让很多工匠难以
							还贷。手工艺品需求的降低让工匠欠债更多，最后战事打断了原
							材料的供应和市场。

 

					第五段，工匠的独立也是很危险的。会导致他们进入市场更加困
					难。区域市场的消失会让weavers 需要忍受大城市中间人。同样
					(第二个例子)在 Wiltshire 南部的独立生产商也遇到的相似情况。
					第六段，城市工匠惧怕乡村工业的发展。因为会减少原材料的供
					应，提升产品价格。乡村的地理位置让他们生存花费、赋税、工
					资较低，通常享受 simplified processes。随着竞争加剧，这些
					优势成为主要关注
难度分析及注意事					适中
项
	Passage 3				生物
		C  卷
		内容			The Heavy Bombardment and Life on Earth
	考题解析				常考话题
难度分析及注意事					适中
		项
	词汇题：

 
 

1. exaggerate = overstate

 

2. synthesis = combination

 

3. intimate = familiar with

 

4. couple with = together with

 

5. distinctive = characteristic