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Câu hỏi: Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.
When we think of the renewable energy transition, we often have in mind dark blue photovoltaic rectangles carpeting the landscape or large three-blade horizontal axis wind turbines marching along mountain ridges or into the sea. We think about grid reliability and consumer cost per kilowatt-hour, or we think about the climate change apocalypse that we will impose on future generations if we fail to act swiftly enough. All of these elements are important from technical and policy perspectives, but there is something missing that will be key to success if we are to meet the goals that we have set for ourselves. We must recognize the importance of human culture to the realization of change.
It is a lack of imagination that has brought us to the brink, and it will be an influx of imagination that can possibly pull us back from it. If we are going to succeed in reducing carbon emissions, we must make the solutions more visible, inspire the general public, and get people excited about the renewable energy transition.
This is the mission of the Land Art Generator Initiative (LAGI), a nonprofit that works with cities around the world on civic art installations that also function as renewable energy infrastructures. These generous works of art give back more than just beauty and return more than just kilowatt hours on their capital investment. LAGI design competitions have changed the way that cities and developers manage the integration of public art and creative placemaking into the master planning process for new developments. Competitions for Dubai/Abu Dhabi (2010), New York City (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017), and Melbourne (2018) have brought in over 1,000 designs from 60+ countries.
(source: https://www.archdaily.com/)
According to paragraph 3, which area is NOT mentioned as the participants of the design contest?
A. Copenhagen
B. Buenos Aires.
C. Santa Monica
D. Glasgow
When we think of the renewable energy transition, we often have in mind dark blue photovoltaic rectangles carpeting the landscape or large three-blade horizontal axis wind turbines marching along mountain ridges or into the sea. We think about grid reliability and consumer cost per kilowatt-hour, or we think about the climate change apocalypse that we will impose on future generations if we fail to act swiftly enough. All of these elements are important from technical and policy perspectives, but there is something missing that will be key to success if we are to meet the goals that we have set for ourselves. We must recognize the importance of human culture to the realization of change.
It is a lack of imagination that has brought us to the brink, and it will be an influx of imagination that can possibly pull us back from it. If we are going to succeed in reducing carbon emissions, we must make the solutions more visible, inspire the general public, and get people excited about the renewable energy transition.
This is the mission of the Land Art Generator Initiative (LAGI), a nonprofit that works with cities around the world on civic art installations that also function as renewable energy infrastructures. These generous works of art give back more than just beauty and return more than just kilowatt hours on their capital investment. LAGI design competitions have changed the way that cities and developers manage the integration of public art and creative placemaking into the master planning process for new developments. Competitions for Dubai/Abu Dhabi (2010), New York City (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017), and Melbourne (2018) have brought in over 1,000 designs from 60+ countries.
(source: https://www.archdaily.com/)
According to paragraph 3, which area is NOT mentioned as the participants of the design contest?
A. Copenhagen
B. Buenos Aires.
C. Santa Monica
D. Glasgow
Theo đoạn 3, khu vực nào không được đề cập là những người tham gia cuộc thi thiết kế?
A. Copenhagen
B. Buenos Aires
C. Santa Monica
D. Glasgow
Căn cứ vào thông tin đoạn ba:
Competitions for Dubai/Abu Dhabi (2010), New York City (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017), and Melbourne (2018) have brought in over 1,000 designs from 60+ countries. (Các cuộc thi ở Dubai/Abu Dhabi (2010), New York (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017) và Melbourne (2018) đã mang về hơn 1.000 thiết kế từ hơn 60 quốc gia.)
A. Copenhagen
B. Buenos Aires
C. Santa Monica
D. Glasgow
Căn cứ vào thông tin đoạn ba:
Competitions for Dubai/Abu Dhabi (2010), New York City (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017), and Melbourne (2018) have brought in over 1,000 designs from 60+ countries. (Các cuộc thi ở Dubai/Abu Dhabi (2010), New York (2012), Copenhagen (2014), Glasgow (2015), Santa Monica (2016), Willimantic (2017) và Melbourne (2018) đã mang về hơn 1.000 thiết kế từ hơn 60 quốc gia.)
Đáp án B.