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  3. A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburb

A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburb

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问题    A few years back, the decision to move the Barnes, a respected American art institution, from its current location in the suburban town of Merion, Pa. , to a site in Philadelphia’s museum district caused an argument—not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to dismantle a relationship among art, architecture and landscape critical to the Barnes’s success as a museum.
   For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming. What is an architect’s responsibility to Barnes’s vision of a marvelous but odd collection of early Modern artworks housed in a rambling 1920s Beaux-Arts pile? Is it possible to reproduce its spirit in such a changed setting? Or does trying to replicate the Barnes’s unique atmosphere only doom you to failure? The answers of the New York architects taking the commission are not reassuring.
   The new Barnes will include many of the features that have become virtually mandatory in the museum world today—conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe—making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to replicate the peacefulness, if not the fantastic charm, of the old museum.
   But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.
   The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cezanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the country’s most charming exhibition spaces.
   But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate.
The biggest challenge architects face in building the new Barnes is______.
选项 A、the ethical and design problems
B、the difficulty to retain its original peacefulness
C、the lack of confidence in undertaking the task
D、the difficulty to put all the artworks in a smaller space
答案A
解析 事实细节题。第二段首句提到，对任何一个接受新建筑设计挑战的建筑师来说，道德和设计问题的混淆不可避免，故[A]项为答案。第三段最后一句提到，建筑师们试图通过精湛的建筑工艺来弥补这个缺失，这显然是为了复制老博物馆的宁静，这不是建筑师们遇到的挑战，故排除[B]项；[C]项和[D]项原文没有提及，故排除。
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