IELTSwithJurabek
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PASSAGE 1
Read the text and answer questions 1-13
Sydney Opera House is an example of late modern architecture; it is admired internationally and treasured by the people of Australia.
In 1956 the Premier of New South Wales, Australia, announced an international competition for the design of an opera house for Sydney. It attracted more than 200 entries from around the world and was won by Jorn Utzon, a relatively little-known architect from Denmark. The story goes that during the judging of the competition, one judge, American architect Eero Saarinen, arrived in Sydney after the other three judges had started assessing the entries. He looked through their rejected entries and stopped at the Utzon design, declaring it to be outstanding.
It was Utzon's life and travels that had shaped his design for the Sydney Opera House. Though he had never visited the site, he used his maritime background to study naval charts of Sydney Harbour. His early exposure to shipbuilding provided the inspiration for the design of the roof of the Sydney Opera House, which is a series of curved "shells" that look like the sails of a sailing ship billowing on the wind. From his travels to Mexico, he had the idea of placing his building on a wide horizontal platform.
Construction of the platform began in 1959, and throughout the early 1960s Utzon amended his original designs in order to develop a way to build the large "shells" that cover the two main halls. The construction of the roof brought together some of the world's best engineers and craftsmen, devising innovative techniques to create a major visual impact in accordance with Utzon's vision. The design was one of the first examples of the use of computer-aided design for complex shapes.
Although Utzon had spectacular plans for the interior, he was unable to realize them. Cost overruns contributed to criticism of the project and, after a change of government, the Minister of Works began questioning Utzon's schedules and cost estimates. Payments to Utzon were stopped and he was forced to withdraw as chief architect in 1966. Following his resignation, there were protests through the streets led by prominent architect Harry Seidler and others, demanding Utzon be reinstated as architect. However, Utzon was not reinstated and left Australia in 1966. He never returned, and new architects were appointed to complete the building in his absence. The original cost estimate for the Opera House was $7 million, with the completion date set at 26 January 1963. However, the Opera House was not formally completed until 1973, having cost $102 million.
Since its opening in 1973, Sydney Opera House has earned a reputation as a world-class performing arts centre and become a symbol of both Sydney and Australia. Situated at Bennelong Point on Sydney Harbour, it consists of a series of large precast "shells" made of concrete, each composed of sections of a sphere of 75.2 metres radius, forming the roofs of the structure, set on a monumental platform. The building is 183 metres long and 120 metres wide at its widest point. It is supported on 588 concrete piers, which are sunk approximately 25 metres below sea level.
Although the roof structures are commonly referred to as "shells", they are precast concrete panels supported by concrete ribs. The "shells" are covered with 1,056,006 white and cream-coloured tiles manufactured in a factory in Sweden that generally produced stoneware tiles for the paper-mill industry. The design solution and construction of the shell structure took eight years to complete, and the development of the special ceramic tiles took over three years. Apart from the tiles covering the "shells", the building's exterior is mostly clad with granite quarried in Australia.
Contrary to its name, Sydney Opera House includes multiple performance venues. It is among the busiest performing arts centres in the world, holding over 1,500 performances each year. It hosts a large number of performing arts companies, including the four resident companies: Opera Australia, the Australian Ballet, the Sydney Theatre Company, and the Sydney Symphony Orchestra.
With its grand setting and cathedral-like atmosphere, the Concert Hall is Sydney Opera House's most prestigious performance space. The largest of all Sydney Opera House interior venues, it delivers outstanding acoustics thanks to its high ceiling and wood panelling. There is a sizeable outdoor forecourt from which people ascend to the main entrance. The steps, which lead up from the forecourt to the main performance venues, are nearly 100 metres wide.
In 1999, Utzon was re-engaged to develop a set of design principles to act as a guide for future changes to the building. All of this design work he did from his base in Europe. These principles help to ensure that the building's architectural integrity is maintained. The first alteration to the exterior of the building was the addition of a new colonnade, which shades nine large glass openings into the previously solid exterior wall. This Utzon-led project, completed in 2006, enabled theatre patrons to see the harbour for the first time from the theatre foyers. The design also incorporates the first public lift and interior escalators to assist less mobile patrons.
Since 2007, the cultural, heritage, and architectural importance of Sydney Opera House has been protected by its inclusion on the World Heritage List.
Choose TRUE if the statement agrees with the information given in the text, choose FALSE if the statement contradicts the information, or choose NOT GIVEN if there is no information on this.
Complete the table below. Write ONE WORD AND/OR A NUMBER from the passage for each answer.
| Sydney Opera House | |
|---|---|
| Final cost | $ |
| Construction | A large platform acting as a base for the building Concrete panels used to make "shells", which are covered in tiles Over a million tiles from from Australia covering the outside walls |
| Use | More than 1,500 performances annually performing arts companies have their home base at the Opera House |
| Outside | A large at the foot of a wide staircase |
| Alterations | A colonnade was added in 2006 Openings made the visible from foyers |
PASSAGE 2
Read the text and answer questions 14-26
14 A rare textile made from the silk of more than a million wild spiders has been on display at the American Museum of Natural History in New York City. To produce this golden cloth, 70 people spent four years collecting golden orb spiders from telephone poles in Madagascar, while another dozen workers carefully extracted about 80 feet of silk filament from each of the arachnids. The resulting 11-foot by 4-foot textile is the only large piece of cloth made from natural spider silk existing in the world today.
15 Spider silk is very elastic and strong compared with steel or Kevlar, said textile expert Simon Peers, who co-led the project. Kevlar is a lightweight synthetic fabric which is chemically related to nylon. It is very tough and durable and used in bullet-proof vests. Kevlar is also resistant to wear, tear, and heat and has absolutely no melting point. But the tensile strength of spider silk is even greater than Kevlar's aramid filaments, and greater than that of high-grade steel. Most importantly, spider silk is extremely lightweight: a strand of spider silk long enough to circle the Earth would weigh less than 500 grams. Spider silk is also especially ductile, able to stretch up to 140 per cent of its length without breaking. It can hold its strength below -40C. This gives it a very high toughness, which equals that of commercial fibers.
16 Researchers have long been intrigued by the unique properties of spider silk. Unfortunately, spider silk is extremely hard to mass produce. Unlike silk worms, which are easy to raise in captivity, spiders have a habit of chomping off each other's heads when housed together. According to Peers, there is scientific research going on all over the world right now trying to replicate the tensile properties of spider silk to apply it to all sorts of areas in medicine and industry, but no one up until now has succeeded in replicating 100 per cent of the properties of natural spider silk.
17 Peers came up with the idea of weaving spider silk after learning about the French missionary Jacob Paul Camboue, who worked with spiders in Madagascar during the 1880s and 1890s. Camboue built a small, hand-driven machine to extract silk from up to 24 spiders at once, without harming them. The spiders were temporarily restrained, their silk extracted, and then let go. Peers managed to build a replica of this 24-spider silking machine that was used at the turn of the century, said Nicholas Godley, who co-led the project with Peers. As an experiment, the pair collected an initial batch of about 20 spiders. "When we stuck them in the machine and started turning it, lo and behold, this beautiful gold-colored silk started coming out," Godley said.
18 But to make a textile of any significant size, the silk experts had to drastically scale up their plan. Fourteen thousand spiders yield about an ounce of silk, Godley said, and the textile weighs about 2.6 pounds. The numbers are overwhelming. To get as much silk as they needed, Godley and Peers began hiring dozens of spider handlers to collect wild arachnids and carefully harness them to the silk-extraction machine. By the end of the project, Godley and Peers extracted silk from more than 1 million female golden orb spiders, which are abundant throughout Madagascar and known for the rich golden color of their silk. Because the spiders only produce silk during the rainy season, workers collected all the spiders between October and June. Then an additional 12 people used hand-powered machines to extract the silk and weave it into 96-filament thread. Once the spiders had been silked, they were released back into the wild, where Godley said it takes them about a week to regenerate their silk.
19 Of course, spending four years to produce a single textile of spider silk is not very practical for scientists trying to study the properties of spider silk, or companies that want to manufacture the fabric for use as a biomedical product, or an alternative to Kevlar armor. Several groups have tried inserting spider genes into bacteria or even cows and goats to produce silk, but so far, the attempts have been only moderately successful. Part of the reason it is so hard to generate spider silk in the lab is that it starts out as a liquid protein produced by a special gland in the spider's abdomen. Using their spinneret, spiders apply force to rearrange the protein's molecular structure and transform it into solid silk. When we talk about a spider spinning silk, we are talking about how the spider applies forces to produce a transformation from liquid to solid, said spider silk expert Todd Blackledge of the University of Akron, Ohio, US, who was not involved in creating the textile. Scientists simply cannot replicate the efficiency with which a spider produces silk. Every year we are getting closer and closer to being able to mass-produce it, but we are not there yet.
Reading Passage 2 has six paragraphs. Choose the correct heading for each paragraph from the list of headings below. Choose the correct number, i-ix, in boxes 14-19.
List of Headings
Drag each heading to the beginning of the matching paragraph in the passage.
Look at the following statements and the list of researchers below. Choose each statement with the correct researcher, A, B or C. NB You may use any letter more than once.
List of Researchers
A Simon Peers
B Nicholas Godley
C Todd Blackledge
| Question | A | B | C |
|---|---|---|---|
| 20 It takes a tremendous number of spiders to make a small amount of silk. | |||
| 21 Scientists want to use the qualities of spider silk for medical purposes. | |||
| 22 Scientists are making some progress in their efforts to manufacture spider silk. | |||
| 23 Spider silk compares favourably to materials known for their strength. |
Complete the summary below. Write ONE WORD ONLY from the passage for each answer.
Producing spider silk in the lab
Both scientists and manufacturers are interested in producing silk for many different purposes. Some researchers have tried to grow silk by introducing genetic material into and some animals. But these experiments have been somewhat disappointing. It is difficult to make spider silk in a lab setting because the silk comes from a liquid protein made in a inside the spider's body. When a spider spins silk, it causes a that turns this liquid into solid silk. Scientists cannot replicate this yet.
PASSAGE 3
Read the text and answer questions 27-40
A New Zealand restaurateur assesses some recent research from the USA
Some scientists peer at things through high-powered telescopes, others tempt rats through mazes, or mix bubbling fluids in glass beakers. Then there is Robert Cialdini, whose unorthodox research involves such mundane items as towels and chocolates. Nonetheless, Cialdini believes he is discovering important insights into how society works, because he is conducting research into why some people are more persuasive than others.
Cialdini hopes that, by applying a little science, we should all be able to get our own way more often. This is in part a personal quest with its origins in his own experience: Cialdini claims that for his whole life he has been easy prey for salespeople and fundraisers who have managed to persuade him to buy things he did not want or give to charities he had never heard of. Finding that experiments on the psychology of persuasion were telling only a part of the story, Cialdini began to probe influence in the real world, enrolling in sales-training programmes. In this way, he believes he learned first hand a great deal about how to sell automobiles from a car lot, insurance from an office, and even encyclopaedias door to door. Most recently his research has involved the now famous experiments with towels. Many hotels leave a little card in each bathroom asking guests to reuse towels and thus conserve water and reduce pollution. Cialdini and his colleagues wanted to test the relative effectiveness of different text on those cards. Could hotels best motivate their guests to co-operate simply because it would help save the planet, or were other factors more compelling?
To test this, the researchers redesigned the cards, replacing the environmental message with the simple (and truthful) statement that the majority of guests at the hotel had reused their towel at least once. Those guests who received this message were found to be 26% more likely to reuse their towel than those given the original message, and 74% more likely than those receiving no message at all.
This was just one study that has enabled Cialdini to identify his Six Principles of Persuasion. The phenomenon revealed by the towel experiment he calls "social proof": the idea that our decisions are influenced by what other people like us are doing. More perniciously, social proof is the force underpinning some people's anxiety not to be left behind by their neighbours, thus the desire for a bigger house or a faster car. A further principle, which he names "reciprocity", was tested in a restaurant by measuring how patrons would respond to after-dinner chocolates. When the chocolates were dropped individually in front of each diner, tips went up 14%. This is reciprocity in action: we want to return favours done to us, often without bothering to accurately calculate whether what we are giving is proportionate to what we have received.
Cialdini's research has established four more such principles. "Scarcity" is the idea that people want more of things they can have less of, a notion that advertisers ruthlessly exploit - limit of four per customer. Parents can also make use of scarcity by telling their little ones that this is a very unusual chance so they should seize it immediately. The principle of "authority" states that we trust people who know what they are talking about. Cialdini maintains that many professionals don't display their credentials, fearing it is boastful or arrogant to publicise their expertise. The principle he labels "consistency" suggests that we want to act in ways that are consistent with undertakings we have already made. For example, if you are soliciting charitable donations, first ask colleagues if they think they will sponsor you. Later, return with a sponsorship form to those who said yes and remind them of their earlier undertaking. The final principle is "likeness": we are more easily persuaded by those who seem similar to ourselves. In one study, people were sent survey forms and asked to return them to a named researcher. When the researcher falsely identified herself with a similar name, surveys were twice as likely to be completed.
Many of Cialdini's claims about persuasion are just that - highly persuasive - and I can readily see evidence for some of them in my own workplace. But Cialdini's experiments were conducted in the United States and I wonder how well all of his findings can be applied here in New Zealand or elsewhere around the world. For instance, I do understand the general principle of "reciprocity" but cannot imagine New Zealand waiting staff using his cynical chocolate trick in their restaurants because the culture of tipping in this country is so different. But it is true that the way to a diner's heart is to give them something they are not expecting in the way of service and in this country reciprocation would more likely take the form of a return visit to the restaurant and not a tip. It may be that age is also a factor and that different generations would react differently to, say, the "consistency" principle. I suspect that younger people in this country would respond quite positively to this sort of approach, whereas their parents might be put off by any hint of a hard sell. Perhaps in the end we must accept that some of us are simply born with more persuasion skills than others and that we have less control over such matters than Cialdini might like to think.
Choose the correct answer.
Complete the summary using the list of phrases, A-J, below.
The six principles of persuasion
Cialdini's towel experiment demonstrated the principle he named "social proof", which can result in competitive materialism. His research using chocolates suggests that people don't always assess the 32 of a transaction. A further principle recommends that advertisers and parents should claim that something is a 33. In order to be more persuasive, the authority principle is often ignored when some professionals are concerned their actions might be considered 34. He similarly suggests that people will give more to charity if they can be reminded of 35. Lastly, even something like a 36 has been shown to result in more surveys being completed.
Choose YES if the statement agrees with the claims of the writer, choose NO if the statement contradicts the claims of the writer, or NOT GIVEN if it is impossible to say what the writer thinks about this.