The Sydney Opera House is masterpiece of the world

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The Sydney Opera House is masterpiece of the world

Sydney Opera House (1957-1973) is a masterpiece of late modern architecture. It is admired internationally and proudly treasured by the people of Australia. It was created by a young architect who understood and recognised the potential provided by the site against the stunning backdrop of Sydney Harbour. Denmark's Jшrn Utzon gave Australia a challenging, graceful piece of urban sculpture in patterned tiles, glistening in the sunlight and invitingly aglow at night. Jorn Utzon died in Copenhagen in November 2008 aged 90. [See appendix 4]

In its short lifetime, Sydney Opera House has earned a reputation as a world-class performing arts Centre and become a symbol of both Sydney and the Australian nation.

Sydney Opera House was inscribed in the World Heritage List in June 2007: «Sydney Opera House is a great architectural work of the 20th century. It represents multiple strands of creativity, both in architectural form and structural design, a great urban sculpture carefully set in a remarkable waterscape and a world famous iconic building.» [3, p. 12]

The House was built due to the fact that Utzon had won the competition in the most unusual design project.

The expert evaluation report to the World Heritage Committee stated: «…it stands by itself as one of the indisputable masterpieces of human creativity, not only in the 20th century but in the history of humankind.» [5]

The Sydney Opera House is a modern expressionist design, with a series of large precast concrete «shells», each composed of sections of a sphere of 75.2 meter (246 ft 8Ѕ in) radius, forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares.

The distinctive roof comprises sets of interlocking vaulted `shells' set upon a vast terraced platform and surrounded by terrace areas that function as pedestrian concourses. The two main halls are arranged side by side, with their long axes, slightly inclined from each other, generally running north-south. The auditoria face south, away from the harbour with the stages located between the audience and the city. The Forecourt is a vast open space from which people ascend the stairs to the podium. The Monumental Steps, which lead up from the Forecourt to the two main performance venues, are a great ceremonial stairway nearly 100 meters wide.

The vaulted roof shells were designed by Utzon in collaboration with internationally renowned engineers Ove Arup & Partners with the final shape of the shells derived from the surface of a single imagined sphere. Each shell is composed of pre-cast rib segments radiating from a concrete pedestal and rising to a ridge beam. The shells are faced in glazed off-white tiles while the podium is clad in earth-toned, reconstituted granite panels [See appendix 2]. The glass walls are a special feature of the building, constructed according to the modified design by Utzon's successor architect, Peter Hall.

The history surrounding the design and construction of the building became as controversial as its design. In 1956 the NSW Government called an open-ended international design competition and appointed an independent jury. The competition brief provided broad specifications to attract the best design talent in the world; it did not specify design parameters or set a cost limit. The main requirement of the competition brief was a design for two performance halls, one for opera and one for symphony concerts. Reputedly rescued from a pile of discarded submissions, Jorn Utzon's winning entry created great community interest and the NSW Government's decision to commission Utzon as the sole architect was unexpected, bold and visionary. [6]

Design and construction were closely intertwined. Utzon's radical approach to the construction of the building fostered an exceptional collaborative and innovative environment. The design solution and construction of the shell structure took eight years to complete and the development of the special ceramic tiles for the shells took over three years. The project was not helped by the changes to the brief. Construction of the shells was one of the most difficult engineering tasks ever to be attempted. The revolutionary concept demanded equally revolutionary engineering and building techniques. Baulderstone Hornibrook (then Hornibrook Group) constructed the roof shells and the interior structure and fitout. At the behest of the Australian Broadcasting Commission (ABC) the NSW Government changed the proposed larger opera hall into the concert hall because at the time, symphony concerts, managed by the ABC, were more popular and drew larger audiences than opera.

Cost overruns contributed to populist criticism and a change of government resulted in 1966 to Utzon's resignation, street demonstrations and professional controversy. Peter Hall supported by Lionel Todd and David Littlemore in conjunction with the then NSW Government Architect, Ted Farmer completed the glass walls and interiors including adding three previously unplanned venues underneath the Concert Hall on the western side.

Opened by Queen Elizabeth II in 1973, new works were undertaken between 1986 and 1988 to the land approach and Forecourt under the supervision of the then NSW Government Architect, Andrew Andersons, with contributions by Peter Hall. [5]

In 1999, Jorn Utzon was re-engaged as Sydney Opera House architect to develop a set of design principles to act as a guide for all future changes to the building. These principles reflect his original vision and help to ensure that the building's architectural integrity is maintained. [8]

This project was followed by the first alteration to the exterior of the building with the addition of a new Colonnade along the western side, which shades nine new large glass openings into the previously solid exterior wall. This Utzon-led project, which was completed in 2006, gave the theatre foyers their first view of Sydney Harbour. The foyers' interiors are now being renovated to Utzon's specifications, to become a coherent attractive space for patrons. The design also incorporates the first public lift and interior escalators to assist less mobile patrons. Utzon was working on designs to renovate the ageing and inadequate Opera Theatre. On all projects, he worked with his architect son Jan, and Sydney-based architect Richard Johnson of Johnson Pilton Walker. [4, p. 5]

All in all, I should say, that Sydney Opera House is a great architectural work of the 20th century. Also it become a symbol of both Sydney and the Australian nation. It was opened by Queen Elizabeth II in 1973. The Sydney Opera House is a modern expressionist design, with a series of large precast concrete «shells», each composed of sections of a sphere of 75.2 meters (246 ft 8Ѕ in) radius, forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares.

The distinctive roof comprises sets of interlocking vaulted `shells' set upon a vast terraced platform and surrounded by terrace areas that function as pedestrian concourses. The Forecourt is a vast open space from which people ascend the stairs to the podium.

This Utzon-led project, which was completed in 2006, gave the theatre foyers their first view of Sydney Harbour.

Before the Sydney Opera House competition, Jшrn Utzon had won seven of the eighteen competitions he had entered but had never seen any of his designs built. Utzon's submitted concept for the Sydney Opera House was almost universally admired and considered groundbreaking.

For the first stage of the project, Utzon worked very successfully with the rest of the design team and the client, but, as the project progressed, the Cahill government insisted on progressive revisions. [See appendix 3] They also did not fully appreciate the costs or work involved in design and construction. Tensions between the client and the design team grew further when an early start to construction was demanded despite an incomplete design. This resulted in a continuing series of delays and setbacks while various technical engineering issues were being refined. The building was unique, and the problems with the design issues and cost increases were exacerbated by commencement of work before the completion of the final plans.

After the election of Robert Askin as premier of New South Wales in 1965, the relationship of client, architect, engineers and contractors became increasingly tense. Askin had been a «vocal critic of the project prior to gaining office.» His new Minister for Public Works, Davis Hughes, was even less sympathetic.

Differences ensued. One of the first was that Utzon believed the clients should receive information on all aspects of the design and construction through his practice, while the clients wanted a system where architect, contractors, and engineers each reported to the client directly and separately. This had great implications for procurement methods and cost control, with Utzon wishing to negotiate contracts with chosen suppliers and the New South Wales government insisting contracts be put out to tender. [6]

Utzon was highly reluctant to respond to questions or criticism from the client's Sydney Opera House Executive Committee (SOHEC). However, he was greatly supported throughout by a member of the committee and one of the original competition judges, Professor Harry Ingham Ashworth. Utzon was unwilling to compromise on some aspects of his designs that the clients wanted to change.

Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attempted to portray Utzon as an impractical dreamer. Ove Arup actually stated that Utzon was «probably the best of any I have come across in my long experience of working with architects» and: «The Opera House could become the world's foremost contemporary masterpiece if Utzon is given his head. [5]» (Ove Arup).

By February 1966, Utzon was owed more than $100,000 in fees. Hughes then withheld funding so that Utzon could not even pay his own staff. The government minutes record that following several threats of resignation, Utzon finally stated to Davis Hughes: «If you don't do it, I resign.» Hughes replied: «I accept your resignation. Thank you very much. Goodbye.»

Utzon left the project on 28 February 1966. He said that Hughes's refusal to pay him any fees and the lack of collaboration caused his resignation and later famously described the situation as «Malice in Blunderland». In March 1966, Hughes offered him a subordinate role as «design architect» under a panel of executive architects, without any supervisory powers over the House's construction, but Utzon rejected this.

Following the resignation, there was great controversy about who was in the right and who was in the wrong. The Sydney Morning Herald initially reported: «No architect in the world has enjoyed greater freedom than Mr Utzon. Few clients have been more patient or more generous than the people and the Government of NSW. One would not like history to record that this partnership was brought to an end by a fit of temper on the one side or by a fit of meanness on the other.» On 17 March 1966, it reported: «It was not his fault that a succession of Governments and the Opera House Trust should so signally have failed to impose any control or order on the project…. his concept was so daring that he himself could solve its problems only step by step…. his insistence on perfection led him to alter his design as he went along. "[3, p. 2]

Yet, in an article in Harvard Design Magazine in 2005, Oxford University professor Bent Flyvbjerg notes that Utzon fell victim to a politically lowballed construction budget, which eventually resulted in a cost overrun of 1,400 percent. The overrun and the ensuing scandal that it created kept Utzon from building more masterpieces. This, according to Flyvbjerg, is the real cost of the Sydney Opera House: «Utzon was thirty-eight when he won the competition for the Opera House - how would the work of the mature master have enriched our lives? We'll never know. That's the high price Sydney has imposed by its incompetence in building the Opera House. [3, p. 2]» (Flyvbjerg).

The Opera House was also a first in mechanical engineering. The Opera House was formally completed in 1973, having cost $102 million. The original cost estimate in 1957 was Ј3,500,000 ($7 million). The original completion date set by the government was 26 January 1963 (Australia Day).Thus, the project was completed ten years late and over-budget by more than fourteen times.

In conclusion, I should say that the Opera House was also a first in mechanical engineering. The relationship of client, architect, engineers and contractors became increasingly tense. No one could accurately calculate the full cost of the construction costs at Sydney Opera House. That is why the work is strongly delayed. The original cost estimate in 1957 was Ј3,500,000 ($7 million).But the Opera House was formally completed in 1973, having cost $102 million.

The architecture of Sydney Opera House has its own features. Firstly, it was designed like a children's toy. Secondly, the windows for the theatre were made from very strong glass, which can not be easily broken. Thirdly, concrete was not suitable for constructing the Opera Theatre. So, a special design of interior had to be found for the theatre (something like wood). Its shape had to be bent, so that the material could reflect the sound back to the listeners. But as they could not find it Utzon decided to try to glue together different types of wood, called it plywood. The secret of plywood is that wood was sticked together in different directions of fiber, which resulted in getting stronger and lighter material for the interior.

How can we make sure that audience feel comfortable staying in the theatre? The answer lies under the water. Everything depends on conditioning system. When there are many people inside the theatre the air gets hot. The engineers found the perfect way for cooling the building. They decided to use the water of Sydney Harbour. They used the principle of circulation taking cold water and pouring hot water back into the harbor.

So, I shold say that the architecture of Sydney Opera House has its own features. There are special glass, playwood and conditioning system.

Sydney Opera House recently received World Heritage recognition. It is one of the architectural wonders of the world, perhaps the best known building of the 20th century with its design and construction involving countless innovative design ideas and construction techniques. The cultural, heritage and architectural importance of Sydney Opera House is protected by its inclusion in 2007 on the World Heritage List and in 2003, on the State Heritage Register, exactly 30 years after its official opening. These principles reflected his vision for the building to guide the House to continue to develop and extend its activities while maintaining its architectural integrity. In 2001, the NSW Government provided $69.3million for several projects to improve the facilities and environment for performing arts companies, patrons and visitors. These projects seek to redress some of the practical limitations affecting the day-to-day workings of Sydney Opera House while preserving its unique heritage. This is believed to be an unprecedented situation - to have the architect of one of the world's most iconic buildings work on his creation more than 30 years after he was last involved. He was being assisted by his Denmark-based architect son, Jan, and leading Australian architect, Richard Johnson of Johnson Pilton Walker who continue the work today. There are a lot of rooms here:

The Drama Theatre is a medium sized proscenium arch theatre. The performing companies that use the Drama Theatre are Sydney Theatre Company, Bangarra Dance Theatre, Sydney Festival, Sydney Opera House and Bell Shakespeare. It is most suitable for drama, dance and small scale musical productions as well as spoken word presentations. The maximum seating capacity is 544 in 19 rows. The auditorium is raked from the fourth row, ensuring good sightlines from all seats. The walls and ceiling are painted black and the floor is covered with blue carpet. The seats are made of white birch timber and are upholstered in tangerine woollen fabric. The Drama Theatre is equipped with a computerised flying system and twin concentric stage revolves. The Drama Theatre is fully scheduled each year and there is limited opportunity for venue hire.

The Concert Hall is the largest interior venue at Sydney Opera House. With its high vaulted ceiling and interior finishes of brush box and white birch timber it is designed primarily for acoustic performances.

The principal performing companies in the Concert Hall are Sydney Symphony, Australian Chamber Orchestra, Sydney Opera House, Sydney Festival and Sydney Philharmonia Choirs. Complementing the work presented by these companies, a wide variety of concerts including prominent touring contemporary music artists is presented by commercial producers and promoters.

The maximum seating capacity is 2,679 with approximately 2,100 seats situated in front of the stage. Stage extensions can be added to increase stage depth with the loss of 85 seats.

Sydney Opera House's Recording Studio offers a unique and seamless blend of services between live concert sound reinforcement and a world-class recording and production facility.

The Recording Studio is located within the main shell of the complex and is easily connected to any location on the site through an advanced optical fibre. This audio network allows the Recording Studio to situate line and mic pre-amps as close as is possible to the source, resulting in a vast reduction of copper cables and subsequent signal degradation.

In addition to the Recording Studio Console, three of the main performance venues also feature Euphonix consoles. By utilising the fibre audio network, audio is also able to be streamed and shared between consoles and venues. A vast array of microphones and a collection of outboard processing are available for use and is included in the studio hire charges. The Recording Studio is run by a small team of highly professional and dedicated engineers who have years of experience within the recording and production industry. These skills combine with an intimate working knowledge of Sydney Opera House performance venues and live performance.

The Recording Studio is ready to provide the complete onsite production package.

The Studio is a contemporary performing arts venue at Sydney Opera House, situated between the Playhouse and Drama Theatre on the Western Broadwalk. Sydney Festival utilises the Studio each January and the balance of the annual program of events for the Studio is curated by Sydney Opera House and presented within key program strands including House: ED. Outside of these programs presented by Sydney Opera House there is limited venue availability for venue hire. This intimate, flexible venue, the smallest in the complex, is designed primarily for new music and contemporary performance. It is also suitable for cabaret, small theatrical productions and spoken word presentations.

In addition to venue rental there will be charges for technical equipment, technical and front-of-house labour and box office services where applicable.

Playhouse is one of the most intimate performance venues within Sydney Opera House. It was originally designed for chamber orchestra recitals but has since been adapted and fitted out to accommodate theatrical productions. The performing companies that present annual programs in the Playhouse are Sydney Festival, Sydney Opera House and Bell Shakespeare Company.

It is best suited to single-set productions and small musical and dramatic productions. It is acoustically excellent and a perfect venue for chamber music, film screenings and spoken word presentations.

The maximum seating capacity is 398 in 17 rows. The walls and ceiling are clad in white birch timber and the floor is covered with red carpet. The seats are made of white birch timber and are upholstered in dark purple woollen fabric.

The Playhouse is fully scheduled each year and there is limited opportunity for venue hire.

Finally, I should say, that the Sydney Opera House consists of a set of premises. There are the Drama Theatre, the Concert Hall, the Recording Studio, the Studio, the Playhouse… The Concert Hall is the largest interior venue at Sydney Opera House. It is designed primarily for acoustic performances. And the Studio is designed for new music and contemporary performance. The Playhouse is the ideal place for chamber music, films and presentations spoken word.

In conclusion, my work, I would like to say that Sydney Opera House is a great architectural work of the 20th century. Also it became a symbol of both Sydney and the Australian nation. It was opened by Queen Elizabeth II in 1973. The Sydney Opera House is a modern expressionist design, with a series of large precast concrete «shells», each composed of sections of a sphere of 75.2 meters (246 ft 8Ѕ in) radius, forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares.

The distinctive roof comprises sets of interlocking vaulted `shells' set upon a vast terraced platform and surrounded by terrace areas that function as pedestrian concourses. The Forecourt is a vast open space from which people ascend the stairs to the podium.

This Utzon-led project, which was completed in 2006, gave the theatre foyers their first view of Sydney Harbour.

The Opera House was also a first in mechanical engineering. The relationship of client, architect, engineers and contractors became increasingly tense. No one could accurately calculate the full cost of the construction costs at Sydney Opera House. That is why the work is strongly delayed. The original cost estimate in 1957 was Ј3,500,000 ($7 million).But the Opera House was formally completed in 1973, having cost $102 million.

The Sydney Opera House consists of a set of premises. There are the Drama Theatre, the Concert Hall, the Recording Studio, the Studio, Playhouse…

The architecture of Sydney Opera House has its own features. There are special glass, playwood and conditioning system.

The Sydney Opera House opened the way for the immensely complex geometries of some modern architecture. The design was one of the first examples of the use of computer analysis to design complex shapes. The design techniques developed by Utzon and Arup for the Sydney Opera House have been further developed and are now used for architecture, such as works of Gehry and blobitecture, as well as most reinforced concrete structures. The design is also one of the first in the world to use araldite to glue the precast structural elements together and proved the concept for future use.

The Opera House was also a first in mechanical engineering. Sydney Opera House is a masterpiece of late modern architecture.

Resources

1. Бурмистрова Л.Л. «Я познаю мир - 2 издание». М: ООО «Издательство АСТ», 2002 г. (397 стр.)

2. Ионина Н.А. «100 великих чудес света». М: Вече, 2004 г. (120 стр.)

3. Duek-Cohen «Utzon and the Sydney Opera House» Sydney: Morgan Publication, 1967-1998.

4. Hubble «The Strange Case of Eugene Goossens and Other Tales from The Opera House». Australia: Collins Publishers, 1988.

5. http:// www. community livejournal.com (09.2010).

6. http:// www. krugosvet.ru (02.2011).

7. http:// www.petrostyle.com (03.2011).

8. http:// www.sydneyoperahouse.com (03.2011).

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