問題詳情

2.　　In June 1943, Frank Lloyd Wright received a letter from Hilla Rebay, the art adviser to Solomon R. Guggenheim, asking the architect to design a new building to house Guggenheim’s four-year-old museum of Non-Objective Painting.　The project evolved into a complex struggle pitting the architect against his clients, city officials, the art world, and public opinions.　Both Guggenheim and Wright would die before the building’s 1995 completion.　The resultant achievement, the Solomon R. Guggenheim Museum, testifies not only to Wright’s architectural genius, but also to the adventurous spirit that characterized its founders.　　                 Wright made no secret of his disenchantment with Guggenheim’s choice of New York for his museum: “I can think of several more desirable places in the world to build this great museum,” Wright wrote in 1949 to his partner, “but we will have to try New York.”　To Wright, the city was overbuilt, overpopulated, and lacked architectural merit.　Still, he proceeded with his client’s wishes, considering locations on 36th Street, 54th Street, and Park Avenue (all in Manhattan), as well as in the Riverdale section of the Bronx, before settling on the present site on Fifth Avenue between 88th and 89th Streets.　Its nearness to Central Park was key.　As close to nature as one gets in New York, the park offered relief from the noise and congestion of the city.　　       Wright’s design put his unique stamp on Modernist Architecture’s rigid geometry.　The building is a symphony of triangles, ovals, arcs, circles, and squares.　The delicate vision took decades to be fulfilled.　Some people, especially artists, criticized Wright for creating a museum environment that might overpower the art inside.　“On the contrary,” he wrote, “it was to make the building and the painting an uninterrupted, beautiful symphony such as never existed in the world of art before.”　　      In conquering the regularity of geometric design and combining it with the plasticity of nature, Wright produced a vibrant building whose architecture is as refreshing now as it was 40 years ago.　The Guggenheim is arguably Wright’s most eloquent presentation and certainly the most important building of his late career.　
63. (　　) According to the passage, why was Wright NOT enthusiastic about building theGuggenheim Museum in New York City?　　　　
(A) There were already too many people and buildings in New York City.　　　　
(B) There were not enough enthusiastic architects to design the museum.　　　　
(C) There was very little support from residents in New York City.　　　　
(D) There was strong objection from Solomon R. Guggenheim.

參考答案

答案：[無官方正解]
難度：非常困難0
統計：A(0),B(0),C(0),D(0),E(0)

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