Ielts reading recent actual tests (2016 2017) with answers published by ieltsmaterial com

 
SECTION 3
 
Designed to Last
Could better design cure our throwaway culture?

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44 | 
P a g e
 
A 
Jonathan Chapman, a senior lecture at the University of Brighton, UK, is one of a new 
breed of "sustainable designers'. Like many of us, they are concerned about the huge 
waste associated with Western consumer culture and the damage this does to the 
environment. Some, like Chapman, aim to create objects we will want to keep rather than 
discard. Others are working to create more efficient or durable consumer goods, or goods 
designed with recycling in mind. The waste entailed in our fleeting relationships with 
consumer durables is colossal 
B
Domestic power tools, such as electric drills, are a typical example of such waste. 
However much DIY the purchaser plans to do, the truth is that these things are thrown 
away having been used, on average, for just ten minutes. Most will serve 
(
conscience 
time, gathering dust on a shelf in the garage; people are reluctant to admin that they have 
wasted their money. However, the end is inevitable thousands of years in landfill waste 
sites. In its design, manufacture, packaging, transportation and disposal, a power tool 
consumes many times its own weight in resources, all for a shorter active lifespan than 
that of the average small insect. 
C 
To understand why we have become so wasteful, we should look to the underlying 
motivation (of consumers. 'People own things to give expression to who they are, and to 
show what group of people they feel they belong to
，
’ Chapman says. In a world of mass 
production, however, that symbolism has lost much of its potency. For most of human 
history, people had an intimate relationship with objects they used or treasured. Often 
they made the objects themselves, or family members passed them on. For more 
specialist objects, people relied on expert manufacturers living close by, whom they 
probably knew personally. Chapman points out that all these factors gave objects a 
history - a narrative - and an emotional connection that to
day’s mass production cannot 
match. Without these personal connections, consumerist culture instead idolizes novelty 
.We know we can’t buy happiness, but the chance to remake ourselves with glossy
, 
box-
fresh products seems irresistible. When the novelty fades we simply renew the excitement 
by buying more new stuff: what John Thackara of Doors of Perception, a network for 
sharing ideas about the future of design, calls the "schlock of the new". 

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