| A | One of the most photographed coastal landmarks of the late 19th century is the Northpoint Lighthouse, a striking structure built on a rocky headland in northern Scotland. Now maintained by the Maritime Heritage Trust, it attracts thousands of visitors each year, both for its historical importance and its dramatic setting against the North Atlantic waves. Originally constructed to guide merchant ships safely past treacherous reefs, the lighthouse has since become a symbol of endurance and human ingenuity. |
| B | The scene at Northpoint is spectacular. Rising over 30 metres, the white cylindrical tower is crowned with a lantern room encased in glass and framed by bronze metalwork. At its base stands a small keeper's cottage, once home to the families who tended the light. Inside, a spiral staircase winds up to the lantern, offering views of seabirds swooping over the cliffs. Today, the surrounding landscape is quiet, but old photographs show a bustling site: fishing boats docking nearby, traders hauling barrels, and crew members signalling with flags. |
| C | Although the location and much of its exterior remain authentic, the modern-day interior is far from the original design. When the Maritime Heritage Trust restored Northpoint in the early 2000s, they replaced the weathered wood and worn ironwork with safer, modern materials. The furniture displayed inside is mostly replicas, based on sketches found in maritime records. Some elements, like the polished stone floor in the entryway, are completely new and chosen to withstand heavy tourist traffic. |
| D | Even more intriguing is the fact that the original lighthouse keeper's diary contains descriptions that contradict what visitors see today. In his notes, the keeper describes narrow, uneven stairs, a cramped lantern room, and a constant struggle against the saltwater corrosion. In contrast, the restored lighthouse has wider stairs, a more spacious lantern area, and gleaming surfaces. The result is a kind of historical illusion: while the structure appears authentic, parts of it reflect a modern reimagining rather than a true replica of the past. |
| E | Why would the restorers make such changes? Perhaps they wanted to preserve the essence of Northpoint while also making it safe and comfortable for visitors. Another possibility is that they wished to present two versions of the lighthouse: one that exists in historical records and another that functions as a tourist attraction. In this way, the lighthouse can be seen as a metaphor for history itself, part truth, part interpretation. |
| F | Since its reopening, maritime historians have debated how much accuracy is necessary when restoring heritage sites. Some have recreated parts of the lighthouse in smaller models to test whether the keeper's diary descriptions were physically possible. While experts often focus on these structural puzzles, most tourists simply admire the building's beauty and the stories surrounding it. This blend of fact and feeling is likely what keeps Northpoint such a beloved landmark. |
Reading Passage 1 has six paragraphs, A–F.
Which paragraph contains the following information?
Write the correct letter, A–F, in boxes 1–5 on your answer sheet.
| 1. details of changes made to the building's interior | |
| 2. the reason visitors are drawn to the lighthouse | |
| 3. examples showing differences between historical records and the modern version | |
| 4. speculation about the motives for altering the building | |
| 5. mention of debates among experts about the lighthouse's accuracy |
Answer the questions below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Write your answers in boxes 6–10 on your answer sheet.
| 6. Who is responsible for maintaining the lighthouse today? | |
| 7. What material frames the lantern room's glass? | |
| 8. What structure once housed the lighthouse staff? | |
| 9. Where were the furniture designs found? | |
| 10. What natural problem did the keeper have to fight against? |
Complete each sentence with the correct ending, A–F, below.
Write the correct letter, A–F, in boxes 11–13 on your answer sheet.
| Sentence | Answer |
|---|---|
| 11 The restorers changed the interior because they | |
| 12 The lighthouse can be seen as a metaphor for history because it | |
| 13 Historians have built models of the lighthouse to |
| Possible endings: |
|---|
| A. wanted to preserve safety and tourist appeal |
| B. wanted to understand the daily lives of lighthouse staff |
| C. is both based on fact and shaped by interpretation |
| D. test whether the diary's descriptions were realistic |
| E. needed to attract funding for further restoration |
| F. reflects only the beauty of the past |
Questions 1–5
Questions 6–10
Questions 11–13
Reading Passage 2 has six paragraphs, A–F.
Choose the correct heading for paragraphs A–F from the list of headings below.
Write the correct number, i–ix, in boxes 14–19 on your answer sheet.
| List of Headings |
|---|
| i. Early inspiration and guidance |
| ii. Practical experience outweighs formal study |
| iii. Landmark eco-project gains recognition |
| iv. Personal and professional setbacks |
| v. Exploring unconventional materials and ideas |
| vi. Standing by her evolving style |
| vii. Disputes over authorship of earlier designs |
| viii. Commitment to affordability |
| ix. Community reactions to The Leaf House Project |
| Paragraph | Answer |
|---|---|
| 14 Paragraph A | |
| 15 Paragraph B | |
| 16 Paragraph C | |
| 17 Paragraph D | |
| 18 Paragraph E | |
| 19 Paragraph F |
| A | When Emma Porter was ten years old, she would sketch unusual houses in the margins of her school notebooks, designs with slanted roofs covered in grass and walls that appeared to be made entirely of glass. Growing up in a small coastal town, she was fascinated by how buildings interacted with nature. Her mother, noticing her interest, bought her a beginner's book on architecture and arranged for her to visit a local architect once a month. This mentor, who specialised in minimalist, energy-efficient homes, taught Emma the importance of simplicity and natural light. One lesson in particular stayed with her: design for the people who will live there, not just for beauty. |
| B | After finishing school in 2001, Emma was accepted into a prestigious architecture program in London. While she appreciated the technical skills she gained, she quickly grew frustrated with the emphasis on expensive, showpiece buildings that ignored environmental impact. Nevertheless, she admitted later that her time at university had given her a strong foundation in design theory and project planning. Most of her real-world education, however, came from working part-time with a community housing group, where she helped design affordable homes that made use of recycled materials and passive heating systems. |
| C | By 2008, Emma had gathered a team of engineers and fellow designers to create The Leaf House Project, a collection of prototype homes built entirely from locally sourced materials and powered by renewable energy. While the homes were compact and practical, they stood out for their bold use of recycled timber, rainwater harvesting systems, and rooftop gardens. At the time, the project attracted little media attention, and some property developers dismissed it as "too idealistic." Yet over the years, The Leaf House Project has come to be seen as a turning point in sustainable architecture, much like her later Skyline Forest Apartments, which combined high-density living with vertical gardens. |
| D | Emma's career, however, wasn't without personal challenges. In 2010, shortly after winning her first major design award, she faced the breakdown of a long-term relationship and the sudden closure of her small design studio due to financial struggles. She admitted in interviews that this period left her feeling drained and questioning her career. Adding to her frustration, many magazines credited her collaborators for innovations she had initiated. It would take several years before she began receiving proper recognition for her role in popularising eco-friendly building methods. |
| E | In the 2010s, Emma began branching out, collaborating with international artists and experimenting with materials not usually found in construction, such as woven bamboo, repurposed plastics, and even clay mixed with organic waste. She incorporated solar paint technology, enabling exterior walls to generate electricity, and developed modular home designs that could be assembled in a matter of days. In the later part of her career, she also explored projects outside of traditional architecture, including interactive art installations and educational programs for schools. |
| F | Not everyone welcomed Emma's shift in direction. Some fellow architects argued that her newer projects had "abandoned architectural integrity" in favour of flashy, experimental concepts. One critic even suggested she had been "seduced by trends rather than staying true to the discipline." Emma rejected these claims, insisting that adaptation was essential for creative growth. For her, innovation wasn't about discarding tradition entirely, but about reimagining it to meet the needs of a changing world. |
Do the following statements agree with the views of the writer in Reading Passage 2?
In boxes 20–26 on your answer sheet, write:
| Question | Answer |
|---|---|
| 20 Emma's mentor believed that design should prioritise the residents' needs over appearance. | |
| 21 Emma felt her architecture degree was a waste of time. | |
| 22 The Leaf House Project used only imported building materials. | |
| 23 The Leaf House Project received widespread praise when it was first introduced. | |
| 24 Emma's personal difficulties led to the closure of her studio. | |
| 25 Emma was upset that others were recognised for her ideas. | |
| 26 Emma believes innovation requires maintaining the same style over time. |
Questions 14–19
Questions 20–26
| A | In the early 20th century, electric vehicles (EVs) were not a futuristic concept, they were common on city streets. In fact, in 1900, electric cars outsold gasoline models in the United States, valued for their quiet operation and ease of use. However, by the 1920s, they had virtually disappeared from the market. The rise of mass production, cheap petrol, and an expanding road network made petrol-powered cars faster, cheaper, and more versatile, and for decades the idea of a mainstream EV was largely abandoned. When the technology did re-emerge in the late 20th century, the focus was on proving that EVs could match petrol cars in speed and range, with little discussion of broader environmental or infrastructure concerns. |
| B | By the 1990s, debate over EV design and production began to intensify. One hotly contested topic was the use of heavy lead-acid batteries, which were inexpensive but had limited range and environmental drawbacks. Proponents argued they were reliable and affordable for city driving, while critics pushed for lighter, more efficient lithium-ion batteries. Some engineers, such as Japanese designer Haruto Ishikawa, refused to work with lead-acid entirely, insisting on renewable-powered charging stations and recyclable materials in vehicle design. American innovator Carla Mendes even called for an "EV ethics code" to discourage practices like using coal-powered electricity to charge vehicles. |
| C | In the early 2000s, lithium-ion batteries began to replace older designs, enabling longer ranges and faster charging. However, these advances also sparked controversy. When a luxury carmaker released an EV with a 500-kilometre range in 2008, environmental journalist Daniel Roche accused the company of "green marketing" rather than genuine innovation, comparing it to "slapping a solar panel on a coal plant and calling it clean." Supporters countered that premium EVs helped attract attention and investment to the industry, paving the way for cheaper, more accessible models. |
| D | Outside the automotive industry, global politics began to shape the EV conversation. As climate change policies gained momentum in the 2010s, many governments offered tax credits, subsidies, and incentives for both manufacturers and consumers. These policies encouraged cleaner production methods, stricter recycling rules for batteries, and the expansion of charging networks in urban and rural areas. |
| E | By the late 2010s, two divisive trends were emerging. The first was "performance EVs," designed to rival sports cars with top speeds well over 250 km/h. The second was "showroom EVs," built more for style than efficiency, often used in marketing campaigns by companies with minimal environmental commitments. Critics claimed these shifts diluted the original purpose of EVs, reducing emissions and dependence on fossil fuels. At the same time, more people turned to electric bicycles and scooters for personal transport, creating a boom in small-scale electric mobility and public rental programs. |
| F | Despite their green reputation, EVs are not entirely free from environmental consequences. The mining of lithium and cobalt for batteries can cause deforestation, water shortages, and human rights concerns in developing countries. A European environmental study found that producing a single EV battery could release more carbon emissions than manufacturing an entire small petrol car, though these emissions could be offset over years of clean operation. Ironically, many EV advocates pride themselves on reducing environmental harm, yet the industry's supply chain continues to pose serious challenges. |
| G | This leaves EV supporters facing complex trade-offs. Parking spaces, charging points, and grid capacity are also in demand from other groups: delivery fleets, public transport providers, and renewable energy companies wanting to store excess power. Some experts suggest that instead of arguing over battery types and performance specs, EV stakeholders should work together to allocate resources fairly and focus on improving the sustainability of the entire ecosystem. |
| H | Whatever the disagreements, EVs are no longer a fringe idea. Like other major technologies, they have entered a phase of regulation, certification, and infrastructure planning. While some lament the loss of the experimental, pioneering spirit of early EV projects, others see this as the only way to ensure that electric transport grows safely and sustainably in the decades ahead. |
Reading Passage 3 has eight paragraphs, A–H.
Which paragraph contains the following information?
Write the correct letter, A–H, in boxes 27–32 on your answer sheet.
| 27. examples of environmental problems linked to battery production | |
| 28. how government policy shaped the development of EVs | |
| 29. a lower-risk transport alternative to driving electric cars | |
| 30. a suggestion for sharing limited resources among different users | |
| 31. a person who refused to use a certain battery type | |
| 32. examples of other industries competing for EV-related infrastructure |
Complete the flow chart below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Write your answers in boxes 33–39 on your answer sheet.
| Electric Vehicle Timeline |
|---|
| Early 1900s EVs more popular than petrol cars until 33 makes petrol models cheaper and faster. |
| 1990s Debate over heavy 34 batteries. Haruto Ishikawa insists on 35 and recyclable materials. |
| Early 2000s 36 replace older designs. Daniel Roche calls luxury EV launch 37 rather than true progress. |
| Late 2010s – today High-speed EVs and 38 spark criticism. Public turns to electric bikes and scooters for 39. |
Choose the correct letter, A, B, C, or D.
Write the correct letter in box 40 on your answer sheet.
Choose the most appropriate title for the reading passage.
| A. The history of electric vehicles |
| B. The ethics and challenges of electric transport |
| C. Why petrol cars will dominate |
| D. High-performance EVs versus affordable EVs |
| 40. |
Questions 27–32
Questions 33–39
Question 40
40. B
Tip: Complete each section under timed conditions (20 minutes per passage) before checking answers.
For practice purposes only