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Changes in British Architecture
Section A
Without a doubt, British architecture has shifted throughout the ages, and leaves the majority of art critics on their toes! Firstly, it is important to look at the history of British architecture and debunking myths surrounding the topic. Despite the popular idea that the Roman escape from Britain in the fifth century marked the simple disappearance of engineering phenomena, such as Hadrian's Wall and expertly laid-out towns, the truth is more complicated and understanding it requires a more analytical approach. These myths, while interesting, ignore the fact that Romano-British culture maintained a strong existence even after the Romans pulled out.
Section B
Some of the greatest examples of British architecture came about in 1485, when the Tudors entered in the Early Modern period due to the death of Richard III in Bosworth. These examples were not only considered to be practical and modern when they were first introduced in the Early Modern period, but they are currently used as inspiration for modern architects. After all, combining efficiency and style is still a functional concept widely used in the architectural field. The fundamental idea behind medieval architecture can be best described as “fitness for purpose”, meaning that British architecture was not only beautifully elegant, but it featured perfectly functional buildings. However, domestic architecture of the time also featured buildings with a purpose of showcasing one's affluent status in society or financial stability.
Section C
The craftsmanship of the 16th Century featured a striking paradox in terms of the arrangement of houses and courtyards. In previous medieval times, houses faced inward towards one or many courtyards as a way to guarantee protection from intruders. This was a common method employed by communities, which entailed a collective approach on protection. In other words, the inward facing houses allowed all members of a community to actively monitor potential risks and unknown townspeople from entering the courtyards. Conversely, British domestic architecture contained vastly different styles and looks. For instance, more elaborately decorated, outward-facing buildings were featured in the 16th Century, placing a higher emphasis on the individual's responsibility for security, along with an appreciation for decorative exteriors. These structures usually included larger rooms, which were often detailed with glass aspects.
Section D
Most architects of the 17th century followed this classic Tudor style, and some continued on to expand upon its dramatic flare. The Italian, Dutch, and French architecture styles came into prominence during the aftermath of the Civil War in the 1640s and 1650s. Circumstances related to the war and Charles II's exile brought both nobles and gentlemen to the Continent and sparked an interest in this “new” architecture. Thus, when Charles II was restored to the throne in 1660, the influence of European trends was noticeable in the property of royalists, rich with over-the-top, dramatic style. According to some historians, this clear stylistic change is representative of a greater societal shift from communal living towards an appreciation for individualism.
Section E
Despite the initial acceptance of industrialisation, some reformers were unable to accept its dehumanizing consequences, and actively sought to influence others towards accepting a more traditional approach. William Morris and John Ruskin are just a few examples of reformers who wanted to return “back to basics” in terms of manufacturing techniques. This concept of “deindustrialisation” contradicted the modernity of social and economic changes caused by manufacturing, including the influx of factories, assembly line work, and industrial economies. As the idea took off, the 1880s gave way to a new generation of determined architects seeking to follow in Morris' footsteps. They did so by providing ethical construction methods that were more aligned with pre-industrial manufacturing techniques.
Section F
These “followers” of Morris remained even into the early 20th Century when new architects were entering into the scene. Despite these “establishment architects” obsessed with preserving the feel of the pre-Industrial Revolution era, the 20th century was home to new architects, such as Gropius and Le Corbusier, who aimed to impact the stylistic scene with innovative techniques. These modern voices brought along stauch competition between designers and architects, most notably affecting the “less daring” in the architectural sector. Britain, for example, is a prime example of a nation that seemed to be stuck in the past when compared to its avant-garde counterparts. In fact, it is only thanks to foreign architects including Serge Chermayeff, Berthold Lubetkin, and Erno Goldfinger that various Modern Movement buildings were produced in Britain during this time.
Section G
When it comes to its design, Britain's history is full of paradoxes that leave much to be analyzed. Rightly so, many people wonder what could be next for British architecture. By following the post-war trend, it is clear that much remains unchanged regarding the authorities that govern architecture. Since the post-war period, corporations, local authorities, and multinational companies continue to control British architecture. Perhaps the appropriate answer for the future of British architecture involves a unique post-post-modernism, if it exists.
Reading Passage Vocabulary
Section A
Without a doubt, British architecture has shifted throughout the ages, and leaves the majority of art critics on their toes! Firstly, it is important to look at the history of British architecture and debunking myths surrounding the topic. Despite the popular idea that the Roman escape from Britain in the fifth century marked the simple disappearance of engineering phenomena, such as Hadrian's Wall and expertly laid-out towns, the truth is more complicated and understanding it requires a more analytical approach. These myths, while interesting, ignore the fact that Romano-British culture maintained a strong existence even after the Romans pulled out.
Section B
Some of the greatest examples of British architecture came about in 1485, when the Tudors entered in the Early Modern period due to the death of Richard III in Bosworth. These examples were not only considered to be practical and modern when they were first introduced in the Early Modern period, but they are currently used as inspiration for modern architects. After all, combining efficiency and style is still a functional concept widely used in the architectural field. The fundamental idea behind medieval architecture can be best described as “fitness for purpose”, meaning that British architecture was not only beautifully elegant, but it featured perfectly functional buildings. However, domestic architecture of the time also featured buildings with a purpose of showcasing one's affluent status in society or financial stability.
Section C
The craftsmanship of the 16th Century featured a striking paradox in terms of the arrangement of houses and courtyards. In previous medieval times, houses faced inward towards one or many courtyards as a way to guarantee protection from intruders. This was a common method employed by communities, which entailed a collective approach on protection. In other words, the inward facing houses allowed all members of a community to actively monitor potential risks and unknown townspeople from entering the courtyards. Conversely, British domestic architecture contained vastly different styles and looks. For instance, more elaborately decorated, outward-facing buildings were featured in the 16th Century, placing a higher emphasis on the individual's responsibility for security, along with an appreciation for decorative exteriors. These structures usually included larger rooms, which were often detailed with glass aspects.
Section D
Most architects of the 17th century followed this classic Tudor style, and some continued on to expand upon its dramatic flare. The Italian, Dutch, and French architecture styles came into prominence during the aftermath of the Civil War in the 1640s and 1650s. Circumstances related to the war and Charles II's exile brought both nobles and gentlemen to the Continent and sparked an interest in this “new” architecture. Thus, when Charles II was restored to the throne in 1660, the influence of European trends was noticeable in the property of royalists, rich with over-the-top, dramatic style. According to some historians, this clear stylistic change is representative of a greater societal shift from communal living towards an appreciation for individualism.
Section E
Despite the initial acceptance of industrialisation, some reformers were unable to accept its dehumanizing consequences, and actively sought to influence others towards accepting a more traditional approach. William Morris and John Ruskin are just a few examples of reformers who wanted to return “back to basics” in terms of manufacturing techniques. This concept of “deindustrialisation” contradicted the modernity of social and economic changes caused by manufacturing, including the influx of factories, assembly line work, and industrial economies. As the idea took off, the 1880s gave way to a new generation of determined architects seeking to follow in Morris' footsteps. They did so by providing ethical construction methods that were more aligned with pre-industrial manufacturing techniques.
Section F
These “followers” of Morris remained even into the early 20th Century when new architects were entering into the scene. Despite these “establishment architects” obsessed with preserving the feel of the pre-Industrial Revolution era, the 20th century was home to new architects, such as Gropius and Le Corbusier, who aimed to impact the stylistic scene with innovative techniques. These modern voices brought along stauch competition between designers and architects, most notably affecting the “less daring” in the architectural sector. Britain, for example, is a prime example of a nation that seemed to be stuck in the past when compared to its avant-garde counterparts. In fact, it is only thanks to foreign architects including Serge Chermayeff, Berthold Lubetkin, and Erno Goldfinger that various Modern Movement buildings were produced in Britain during this time.
Section G
When it comes to its design, Britain's history is full of paradoxes that leave much to be analyzed. Rightly so, many people wonder what could be next for British architecture. By following the post-war trend, it is clear that much remains unchanged regarding the authorities that govern architecture. Since the post-war period, corporations, local authorities, and multinational companies continue to control British architecture. Perhaps the appropriate answer for the future of British architecture involves a unique post-post-modernism, if it exists.
IELTS Academic Reading Tips for Success
Tips to improve your reading speed
Keep in mind, having a slow reading speed makes skimming or scanning a reading passage more difficult. The process of quickly skimming through a reading passage for specific keywords or main ideas is a requirement for you to employ successful reading strategies to improve your IELTS reading score. In other words, skimming and scanning are critical skills to ensure you complete all questions in the allotted time frame.
IELTS Reading Strategies
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Step 1: Read questions first
One of the most common mistakes that candidates make when approaching the reading exam is reading every single word of the passages. Although you can practice for the exam by reading for pleasure, "reading blindly" (reading without any sense of what the questions will ask) will not do you any favors in the exam. Instead, it will hurt your chances for effectively managing your time and getting the best score.
The main reason to read the questions first is because the type of question may determine what you read in the passage or how you read it. For example, some question types will call for the "skimming" technique, while others may call for the "scanning" technique.It is important to answer a set of questions that are of the same question type. You'll need to determine which question type you want to tackle first. A good strategy would be to start with the easier question type and move on to more difficult question types later. The Easiest question types are the ones where you spend less time reading. For example, the Matching Heading question type is an easier one because you only need to find the heading that best describes the main idea of a paragraph. An example of a difficult question type would be Identifying Information. For this question type, you'll need to read each paragraph to find out if each statement is TRUE, FALSE, or NOT GIVEN according to the passage.
Here is a table that lists the difficulty levels for each question type. Use this table as a reference when choosing which question type you want to tackle first.
Difficulty level Question Type Easy Sentence Completion
Short answerMedium Matching Features
Multiple choice
Matching Headings
Summary, Table, Flow-Chart CompletionDifficult Matching Sentence Endings
Matching Information
Identifying Information (TRUE/FALSE/NOT GIVEN)
Identifying Viewer's claims (YES/NO/NOT GIVEN)
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Step 2: Read for an objective
After you've read the questions for the passage, you will be able to read for an objective. What does this mean? For example, if you come across a question that includes the year "1896", you can make a note of when this year comes up in the text, using it to answer the question later on. There are two reading techniques that will help you stay on track with reading for an objective. The first one, skimming, is best defined as reading fast in order to get the "gist", or general idea, or a passage. With this technique, you are not stopping for any unfamiliar words or looking for specific details. The second technique, scanning, is best defined as reading for specific information. With this technique, you are not reading for the overall gist, but rather, specific information. Notice how each of these techniques has a specific objective in mind. This will help you find information more quickly.
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Step 3: Take notes
As you're reading for an objective, you should also be making notes on the margins of the passage, placing stars next to key information, or underlining things that you believe will help you answer the various questions. This will make it easier for you to check back when you are asked certain things in the questions. Choose whichever note-taking system is right for you - just make sure you do it!
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Step 4: Answer wisely
After you've read the questions, read the passage, and have taken any appropriate notes, you you should have located the part of the text where you where you need to read carefully. Then just read carefully and think critically to determine the correct answer.
IELTS Reading Question Types
The IELTS reading test contains many different question types:
| Matching Headings | IELTS Reading Lesson: Matching Headings |
| Matching Information | IELTS Reading Lesson: Matching Information |
| Matching Features | IELTS Reading Lesson: Matching Features |
| Summary Completion | IELTS Reading Lesson: Summary Completion |
| Identifying Information | IELTS Reading Lesson: Identifying Information |
| Identifying Writer's claims | IELTS Reading Lesson: Identifying Writer's claims |
| Multiple Choice | IELTS Reading Lesson: Multiple Choice |
| Short Answer | IELTS Reading Lesson: Short Answer |
| Match Sentence Ending | IELTS Reading Lesson: Match Sentence Ending |
| Sentence Completion | IELTS Reading Lesson: Sentence Completion |
| Table Completion | IELTS Reading Lesson: Table Completion |