ĐỀ 15
ĐỀ 15
ĐỀ 15
Personal Details
Child’s name: Kate
Age: 1. ……………
Address: 2. …………… Road, Woodside, 4032
Phone: 3345 9865
Childcare Information
Days enrolled for: Monday and 3. ……………
Start time: 4. …………… am
Childcare group: the 5. …………… group
Which meal/s are required each day? 6. ……………
Medical conditions: needs 7. ……………
Emergency contact: Jenny 8. ……………
Phone: 3346 7523
Relationship to child: 9. ……………
Fees
Will pay each 10. ……………
II. For questions 1-10, fill in the blank with NO MORE THAN THREE WORDS from the recording.
Frankie Dettori’s family are originally from 1. …………… .
His mother’s job was riding horses in a 2. …………… and his father was a jockey.
From a young age, Dettori practiced riding horses 3. …………… .
When he was a teenager, he worked with an Italian 4. …………… called Luca Cumani.
In 2007, after trying 5. …………… times, Dettori finally won the Epsom Derby.
Dettori’s unusual style of riding helped him to 6. …………… his horses.
Dettori and his friend were involved in a serious 7. …………… crash.
Dettori suffered facial injuries and a broken 8. …………… in the accident.
Apart from riding, Dettori has a keen interest in 9. …………… .
Dettori now lives in the UK with his wife and their 10. …………… .
III. For questions 1-5, decide if the statements are True (T) or False (F) according to the recording.
1. Organic farming refrains from using synthetic fertilizers, pesticides, herbicides, antibiotics, and
livestock feed additives.
2. Organic farming advocates for the utilization of renewable resources and the practice of recycling.
3. The absence of human-made pesticides increases the vulnerability of organic vegetables, making them
more prone to damage.
4. Organic farming exhibits superior land productivity in comparison to conventional methods.
5. Organic farming mitigates the need for chemical fertilizers and pesticides, thereby preserving resources
and curbing pollution.
IV. For questions 1-5, choose the correct letter (A, B, C, or D) which best fits each sentence.
1. Ella suggests that her interest in lighting started with
A. the lights she once saw at a theatre show.
B. an outstanding light show at a rock concert.
C. the effects of a fireworks display.
2. Ella says that the work of theatre lighting technicians
A. can vary according to the director they're working with.
B. can be more complex than she'd initially realised.
C. can be important for people's understanding of a play.
3. Ella thinks that members of a theatre audience
A. only really notice the lighting when something goes wrong.
B. generally appreciate what good lighting adds to a performance.
C. rarely react to lighting effects.
4. Ella mentions an early lighting plan she made at school that
A. relied on technology that the school didn't have.
B. was too difficult for anyone to follow.
C. overlooked a key point about the play it was intended for.
5. During her research into theatre lighting, Ella
A. felt disappointed to find that she knew so little about it.
B. was impressed at what theatres achieved before using electricity.
C. wondered whether modern lighting has spoilt the atmosphere in theatres.
6. After seeing the technology available for modern theatre lighting, Ella
A. is excited by the creative possibilities it offers.
B. thinks it has made a technician's job easier than it used to be.
C. has realised it's important not to use it unnecessarily.
7. What does Ella feel might be a disadvantage of the job?
A. It will probably always involve long hours.
B. She may never become famous for what she does.
C. It could take her years to reach the top of her profession.
II. For questions 21-30, write the correct form of each bracketed word in the numbered space
provided (10 points)
1. Hostels are used as a _____________ until the families can find permanent accommodation. (STOP)
2. For many people, social networking offers them the feeling of __________from the real world.
(ESCAPE)
3. The meeting has been ___________ arranged for 3pm next Friday. (PROVIDE)
4. ____________ is sometimes said to be more characteristic of women than men but I think that this is a
false stereotype. (FICKLE)
5. The boy’s ____________ behavior was the primary reason for which he was expelled from school.
(OBJECT)
6. The Ministry of education and training decided to organize a/an____________ football championship to
create a common playground for all students. (COLLEGE)
7. A ____________ vehicle, like a family car, is a vehicle that is used strictly for transportation purposes.
(COMMERCE)
8 The business decided to concentrate on ____________ and soft drinks. (CONFECT)
9. The existence of a so-called ____________happiness gap is so well established that recently social
scientists have mostly tried to explain it. (IDEA)
10. The ship is an exact _____________ of the original Golden Hind. (REPLY)
V. Read the text below and choose the correct answer. Options may be chosen more than once.
Roland Paoletti
An architect who revolutionized the lives of London’s commuters.
A
Roland Paoletti was the driving force behind the dramatic, award-winning stations on the £3 billion Jubilee
Line Extension (JLE) to the London Underground system, the most ambitious building programme on the
Tube for many decades. An irascible Anglo-Italian, Paoletti possessed the persuasiveness and tenacity to
take on the vested political interests at play in the planning of the 10-mile Jubilee Line Extension to ensure
good design and innovation. Historically, architects employed on Tube projects had been restricted to
‘fitting out’ the designs of railway and civil engineers with few or no aesthetic concerns, and whom
Paoletti dismissed as visionless ‘trench-diggers. The Jubilee line would be unique in that for the first time
the architects would be responsible for designing entire underground stations.
B
As the commissioning architect in overall charge, Paoletti’s approach was to let light flood down into the
stations along the line. The project’s centrepiece was the extraordinary huge new station at Canary Wharf,
designed by Norman Foster and Partners to handle up to 40,000 passengers an hour at peak times.
‘Everybody keeps saying that it’s like a cathedral; complained Paoletti.‘They’re wrong. It actually is a
cathedral: Explaining his approach to designing underground stations, Paoletti likened the Jubilee line to
architectural free-form jazz, the stations responding to their different contexts as dramatic variations on a
theme. Instead of uniformity, Paoletti envisaged variety achieved in the beauty of raw materials like
concrete, and the architectural power of simple, large spaces for robust and practical stations.
C
He procured the most talented individual architects he could find to design 11 new stations along the line,
creating a unique variety of architectural statement pieces – notably different but all beautiful – in what had
been a largely desolate stretch of urban east London.‘For the price of an underground ticket; he promised,
‘you will see some of the greatest contributions to engineering and architecture worldwide’ Paoletti’s
sweeping vision did not disappoint. With their swagger and individualism, the stations have been widely
acclaimed as a tour de force in public transport architecture.
D
In pressing for a seamless marriage between architecture and engineering, Paoletti was concerned to make
the stations pleasing to the eye, and the daily grind of commuters using them as uplifting an experience as
possible. The result was generally reckoned to be the finest set of stations since the classic designs for the
Piccadilly line by Charles Holden in the 1930s. In Holden’s day, design stopped at the top of the escalators
leading down to the platforms, a symptom of the Tube’s tradition of treating architecture and engineering
as separate disciplines. From the start, Paoletti promised ‘a symbiosis of architecture and engineering’
throughout. This is particularly evident at Westminster station, where Michael Hopkins solved structural
difficulties by designing fantastic supporting structures redolent of science-fiction – what Paoletti called
‘engineering that expresses itself as architecture… in which people can delight.’
E
He wanted the designs of the JLE stations to have a uniformity of voice, or, as he put it, ‘a philosophical
uniformity’. Paoletti contrasted the drama of MacCormac Jamieson Prichard’s design for Southwark
station with the vast glass drum of Ron Herron’s Canada Water station, intended as a response to the area’s
bleakness, ‘a big, splendid beacon that has transformed the area from a wasteland almost overnight’ To
critics who complained about the expense of these grand designs, Paoletti pointed out that the same cut-
and-cover, box-station design that allowed his architects a free hand with their various structures also
saved London Underground millions in tunnelling costs. ‘In any case, he noted, ‘you have to decide at the
beginning whether you’re going to see an underground station as a kind of vehicular underpass that
happens to have people in it, or whether it’s a building; a building with some other kind of job to do, like
making people comfortable.’
(Source: https://engxam.com/handbook/practice-test-reading-part-8-multiple-matching-c1-advanced-cae/)
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