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Mies held that elegance of architectural design______.
A．was related to large space
B．was identified with emptiness
C．was not reliant on abundant decoration
D．was not associated with efficiency
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更多 “ Mies held that elegance of architectural design______.A．was related to large spaceB．was identified with emptinessC．was not reliant on abundant decorationD．was not associated with efficiency ” 相关考题
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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.
Mies held that elegance of architectural design____A.was related to large space
B.was identified with emptiness
C.was not reliant on abundant decoration
D.was not associated with efficiency
考题
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.
The postwar American housing style largely reflected the Americans_____A.prosperity and growth
B.efficiency and practicality
C.restraint and confidence
D.pride and faithfulness
考题
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.
Which of the following can be inferred from Paragraph 3 about the Bauhaus?A.It was founded by Ludwig Mies van der Rohe.
B.Its designing concept was affected by World War II.
C.Most American architects used to be associated with it.
D.It had a great influence upon American architecture.
考题
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 can we learn about the design of the“Case Study House”?A.Mechanical devices were widely used.
B.Natural scenes were taken into consideration.
C.Details were sacrificed for the overall effect.
D.Ecofriendly materials were employed.
考题
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.
考题
The semantic triangle holds that the meaning of a word ( ) A.is interpreted through the mediation of concept
B.is related to the thing it refers to
C.is the idea associated with that word“in the mind of the speaker”
D.is the image it is represented in the mind
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多选题Why would you run the delete obsolete command？（）ATo remove missing backup set pieces physically from diskBTo remove metadata related to backup set pieces in the control file and the recovery catalogCTo mark as deleted records in the control file and the recovery catalog associated with obsolete backup setsDTo delete backup set pieces associated with backups that are no longer needed due to retention criteriaETo remove old versions of RMAN backups
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多选题Which two statements are true about Oracle ActiveCache ？（）Ait supports very large data-sets such as the result-sets from large search queries to be held in memoryBit provides a set of management tools that enables automation of configurationCit provides enhanced visibility across the entire application infrastructureDit significantly increases the performance of Web-based applications with no code change
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increase back pressure during the exhaust processB
facilitate periodic replacement of the valvesC
reduce the pumping loss associated with scavengingD
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The efficiency increasesB
The efficiency decreasesC
The efficiency remains the sameD
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change in impeller diameterB
square of the impeller diameterC
cube of the impeller diameterD
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单选题The discharge rate or capacity of a centrifugal pump will vary directly as the （）.A
change in the impeller diameterB
square of the impeller radiusC
cube of the impeller diameterD
impeller efficiency for large changes in its size
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New personnelB
Personnel transferred to new assignmentsC
All crewmembersD
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quantity of air it takes in and retains in the cylinders during a given time periodB
proportion of trapped air that is utilized in the combustion processC
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