Beyond that, it is a global expression of cultural modernity. Everyone in the world with media access knows what the Sydney Opera House looks like. First designed in 1956 and finally declared completed in 1973, the opera house was the single best known modern building in the world until the arrival of Frank Gehry's equally extraordinary Bilbao Guggenheim in 1997. But it will outlive the Guggenheim as an international architectural icon--because it did all the difficult work tint.
In the pantheon(万神殿) of classic modern buildings, Utzon's creation has the status of myth. The myth states that the unknown architect, then in his thirties, submitted rough sketches to the competition judges, that he ignored most of the rules, that his as only selected after being plucked at the last moment from the rejected pile by one of the judges, and that the design was unbuildable.
But Sydney is remarkable for another reason: it is a complete one-off. It does not fit into any stylistic or chronological category. None of Utzon's other buildings--churches, government departments, house. looks anything like it, and architects today who try to copy his concept always end up looking very second-rate indeed. It is "modern", certainly, but it is an expressive modernism that was quite at odds with the rectilinear(直线的) "international style" of its time. It has more in common with the work of the American genius Frank Uloyd Wright, for whom Utzon worked briefly. Of course its location is an enormous help, sitting as it does on a promontory with water on three sides and the famous Sydney Harbor Bridge as a picture-postcard backdrop. But Utzon masterly exploited the site as nobody else could.
Utzon left Australia in high indignation in 1966, never to return, before he could finish designing the interiors.
As with Sir Christopher Wren at St Paul's Cathedral, Utzon was humiliated and removed from overseeing the final stages of his masterwork. But for all his manifold difficulties, which other contemporary architect can claim an equivalent achievement? The Sydney Opera House showed us that anything is possible, and it demonstrated that sheer, seductive beauty for its own sake is nothing to be ashamed of.
It can be inferred from the passage that ______.
A.the Danish architect Join Utzon totally failed in his design of Sydney Opera House and was forced to resign
B.the Danish architect Jorn Utzon has been made known as the founder of all the modern landmark buildings, in spite of his part failure in his design of Sydney Opera House
C.Sydney Opera House is hopelessly ugly and has never been finished inside
D.Sydney Opera House is the single best known modern building in the world up to now
第1题
最细粉是指
A.能全部通过五号筛,并含能通过六号筛不少于95%的粉末
B.能全部通过八号筛,并含能通过九号筛不少于95%的粉末
C.能全部通过二号筛,但混有能通过四号筛不超过40%的粉末
D.能全部通过六号筛,并含能通过七号筛不少于95%的粉末
E.能全部通过四号筛,但混有能通过五号筛不超过60%的粉末
第2题
A.全部通过四号筛,并含能通过五号筛不少于95%的粉末
B.全部通过五号筛,并含能通过六号筛不少于95%的粉末
C.全部通过六号筛,并含能通过七号筛不少于95%的粉末
D.全部通过七号筛,并含能通过八号筛不少于95%的粉末
E.全部通过八号筛,并含能通过九号筛不少于95%的粉末
第3题
A.粗粉指能全部通过三号筛.但混有能通过四号筛不超过40%的粉末
B.中粉指能全部通过四号筛.但混有能通过五号筛不超过60%的粉末
C.细粉指能全部通过五号筛.并含能通过六号筛不少于95%的粉末
D.最细粉指能全部通过六号筛.并含能通过七号筛不少于95%的粉末
E.极细粉指能全部通过八号筛.并含能通过九号筛不少于95%的粉末
第4题
《中国药典》2010版一部规定的药物细粉是指
A、全部通过四号筛,并含能通过五号筛不少于95%的粉末
B、全部通过五号筛,并含能通过六号筛不少于95%的粉末
C、全部通过六号筛,并含能通过七号筛不少于95%的粉末
D、全部通过七号筛,并含能通过八号筛不少于95%的粉末
E、全部通过八号筛,并含能通过九号筛不少于95%的粉末
第5题
A.最粗粉:指能全部通过一号筛,但混有能通过三号筛不超过20%的粉末
B. 粗粉:指能全部通过三号筛,但混有能通过四号筛不超过50%的粉末
C. 中粉:指能全部通过四号筛,但混有能通过五号筛不超过60%的粉末
D. 细粉:指能全部通过五号筛,并含能通过六号筛不少于95%的粉末
E. 极细粉:指能全部通过八号筛,并含能通过九号筛不少于95%的粉末
第6题
《中国药典》2000年版规定的粉末的分等标准错误的是
A.粗粉指能全部通过三号筛,但混有能通过四号筛不超过40%.的粉末
B.中粉指能全部通过四号筛,但混有能通过五号筛不超过60%.的粉末
C.细粉指能全部通过五号筛,并含能通过六号筛不少于95%.的粉末
D.最细粉指能全部通过六号筛,并含能通过七号筛不少于95%.的粉末
E.极细粉指能全部通过八号筛,并含能通过九号筛不少于95%.的粉末
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