Origins[edit]
Bennelong Point with tram depot in the 1920s (top left-hand side of photograph)
Construction progress in 1966
Planning began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site: Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the CBD.[21]
An international design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3,000 and a small hall for 1,200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations.[22]
The winner, announced in 1957, was Jørn Utzon, a Danish architect. According to legend the Utzon design was rescued from a final cut of 30 "rejects" by the noted Finnish American architect Eero Saarinen. The prize was £5,000.[23] Utzon visited Sydney in 1957 to help supervise the project.[24] His office moved to Palm Beach, Sydney in February 1963.[25]
Utzon received the Pritzker Architecture Prize, architecture's highest honour, in 2003.[26] The Pritzker Prize citation read:
There is no doubt that the Sydney Opera House is his masterpiece. It is one of the great iconic buildings of the 20th century, an image of great beauty that has become known throughout the world – a symbol for not only a city, but a whole country and continent.
Design and construction[edit]
The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958 and construction began in March 1959. It was built in three stages: stage I (1959–1963) consisted of building the upper podium; stage II (1963–1967) the construction of the outer shells; stage III (1967–1973) interior design and construction.
Stage I: Podium[edit]
Stage I commenced on 2 March 1959 with the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners.[27] The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind,[27] mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.[28]
Stage II: Roof[edit]
Construction progress in 1968
Sydney Opera House shell ribs
The glazed ceramic tiles of the Sydney Opera House
The shells of the competition entry were originally of undefined geometry,[29] but, early in the design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, and, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.
From 1957 to 1963, the design team went through at least 12 iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, to understand the complex forces to which the shells would be subjected.[30] The computer system was also used in the assembly of the arches. The pins in the arches were surveyed at the end of each day, and the information was entered into the computer so the next arch could be properly placed the following day. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions."[31] Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise eureka moment ... ; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."
He goes on to claim that "the existing evidence shows that Arup's canvassed several possibilities for the geometry of the shells, from parabolas to ellipsoids and spheres."[30] Yuzo Mikami, a member of the design team, presents an opposite view in his book on the project, Utzon's Sphere.[32][33] It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible for the Opera House project) all played a very significant part in the design development.[34]
As Peter Murray states in The Saga of the Sydney Opera House:[28]
... the two men—and their teams—enjoyed a collaboration that was remarkable in its fruitfulness and, despite many traumas, was seen by most of those involved in the project as a high point of architect/engineer collaboration.
The design of the roof was tested on scale models in wind tunnels at Southampton University and later NPL in order to establish the wind-pressure distribution around the roof shape in very high winds, which helped in the design of the roof tiles and their fixtures.[35][36]
The shells were constructed by Hornibrook Group Pty Ltd,[37] who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes.[28] The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.
Stage III: Interiors[edit]
The Concert Hall and organ
View from the stage of the Concert Hall.
View from the stage of the The Joan Sutherland Theatre.
Interior of the Studio Theatre.
Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. This ultimately led to Utzon's resignation in 1966 (see below).
The cost of the project so far, even in October 1966, was still only $22.9 million,[38] less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.
The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.
Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design allowed for only 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards."[39]
Significant changes to Utzon's design[edit]
The foyer of the Joan Sutherland Theatre, showing the internal structure and steel framing of the glass curtain walls; the final constructions were modified from Utzon's original designs
View of the Opera House from the Harbour Bridge
The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, incorporated opera and ballet functions and was called the Opera Theatre, later renamed the Joan Sutherland Theatre. As a result, the Joan Sutherland Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre "in the round". These now comprise the Drama Theatre, the Playho
[แก้ไข] ต้นกำเนิดจุด Bennelong กับราง depot ในปี 1920 (ด้านบนซ้ายมือของภาพ)การก่อสร้างเป็นการวางแผนเริ่มใน 2483 เมื่อ Eugene Goossens นิวเซาธ์เวลส์รัฐ Conservatorium ของเพลง ผู้อำนวยการออกสียงสนับสนุนสถานที่เหมาะสำหรับการผลิตละครขนาดใหญ่ ห้องพักปกติสำหรับการผลิตดังกล่าว ฮอลล์เมืองซิดนีย์ ไม่ได้เป็นพอ โดย 1954, Goossens ความสำเร็จในการดึงดูดการสนับสนุนของนิวเซาธ์เวลส์พรีเมียร์โจเซฟ Cahill ที่เรียกว่าการออกแบบสำหรับโอเปร่าเฮ้าส์เฉพาะ มันเป็น Goossens ที่ยืนยันว่า จุด Bennelong เป็นไซต์: Cahill ก็อยากให้เป็น หรือ ใกล้ สถานีรถไฟวินยาร์ดในตะวันตกเฉียงเหนือของนี่ [21]การแข่งขันการออกแบบนานาชาติเปิด โดย Cahill บน 13 1955 กันยายน และรับรายการ 233 สถาปนิกตัวแทนจาก 32 ประเทศ เงื่อนไขระบุไว้เป็นห้องโถงขนาดใหญ่ที่นั่ง 3000 และห้องประชุมขนาดเล็กสำหรับ 1200 คน แต่ละการออกแบบสำหรับใช้งานต่าง ๆ รวมทั้งโอเปร่าเต็มรูปแบบ คอนเสิร์ต orchestral และเลือก ประชุมใหญ่ บรรยาย การแสดงบัลเล่ต์ และงานนำเสนออื่น [22]ผู้ชนะ ประกาศใน 1957, Jørn Utzon สถาปนิกเดนมาร์กได้ ตำนานแบบ Utzon ถูกช่วยจากตัดสุดท้ายของ 30 "ไม่ยอมรับ" โดยที่ตามภาษาฟินแลนด์อเมริกันสถาปนิก Eero Saarinen รางวัล £5000 [23] Utzon ชมซิดนีย์ใน 1957 เพื่อช่วยกำกับดูแลโครงการ [24] สำนักงานของเขาย้ายไปปาล์มบีช ซิดนีย์ใน 1963 กุมภาพันธ์ [25]Utzon received the Pritzker Architecture Prize, architecture's highest honour, in 2003.[26] The Pritzker Prize citation read:There is no doubt that the Sydney Opera House is his masterpiece. It is one of the great iconic buildings of the 20th century, an image of great beauty that has become known throughout the world – a symbol for not only a city, but a whole country and continent.Design and construction[edit]The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958 and construction began in March 1959. It was built in three stages: stage I (1959–1963) consisted of building the upper podium; stage II (1963–1967) the construction of the outer shells; stage III (1967–1973) interior design and construction.Stage I: Podium[edit]ขั้นตอนที่ผมเริ่มดำเนินการใน 2 1959 มีนาคม มีการก่อสร้างโยธายืนยันและซีวิค ตรวจสอบวิศวกรอารัป Ove และคู่ค้า [27] รัฐบาลได้ผลักดันสำหรับการทำงานเพื่อเริ่มต้น กลัวว่า เงินทุน หรือมติมหาชน อาจเปิดกับพวกเขา อย่างไรก็ตาม Utzon ยังไม่เสร็จสมบูรณ์การออกแบบขั้นสุดท้าย ปัญหาโครงสร้างหลักยังคงยังคงยัง โดย 23 1961 มกราคม งานถูกรันสัปดาห์ 47 หลัง, [27] ส่วนใหญ่เนื่องจากปัญหาที่ไม่คาดคิด (อากาศ inclement โอน stormwater เริ่มต้นก่อสร้างก่อนมีการเตรียมก่อสร้างที่เหมาะสม การเปลี่ยนแปลงของสัญญาฉบับปัญหาไม่คาดคิด) ในที่สุดก็เสร็จงานบนแท่นใน 1963 กุมภาพันธ์ เริ่มต้นบังคับนำไปสู่ปัญหาในภายหลังอย่างมีนัยสำคัญ ไม่น้อยที่เป็นความจริงที่ว่า คอลัมน์ฐานไม่แข็งแรงพอที่จะรองรับโครงสร้างหลังคา และต้องมีการสร้างขึ้นมาใหม่ [28]ระยะที่ II: หลังคา [แก้ไข]การก่อสร้างในปี 2511ซิดนีย์โอเปร่าเฮ้าส์เชลล์ซี่โครงกระเบื้องเซรามิกเคลือบของซิดนีย์โอเปร่าเฮ้าส์เปลือกหอยของรายการแข่งขันอยู่เดิมไม่ได้กำหนดรูปทรงเรขาคณิต, [29] ได้ ในช่วงกระบวนการออกแบบ "เปลือกหอย" ก็ถือว่าเป็นชุดของ parabolas โดยซี่โครงคอนกรีตหล่อสำเร็จ อย่างไรก็ตาม วิศวกรอารัป Ove และคู่ค้าได้ไม่พบโซลูชันการยอมรับการสร้างพวกเขา จะได้รับแบบหล่อสำหรับใช้คอนกรีตในการวิเคราะห์แพง prohibitively ก เนื่องจากมีไม่ซ้ำในแบบหลังคา ก่อสร้างสะพานคอนกรีตในแต่ละส่วนแต่ละอาจมีราคาแพงมากFrom 1957 to 1963, the design team went through at least 12 iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, to understand the complex forces to which the shells would be subjected.[30] The computer system was also used in the assembly of the arches. The pins in the arches were surveyed at the end of each day, and the information was entered into the computer so the next arch could be properly placed the following day. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions."[31] Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise eureka moment ... ; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."เขาไปอ้างว่า "หลักฐานที่มีอยู่แสดงว่า ของอารัป canvassed หลาย ๆ สำหรับเรขาคณิตของเปลือกหอย จาก parabolas เพื่อ ellipsoids และทรงกลม" [30] Yuzo Mikami สมาชิกในทีมออกแบบ นำเสนอในมุมมองตรงกันข้ามในหนังสือของเขาในโครงการ Utzon ของทรงกลม [32] [33] ก็ไม่น่าว่า ความจริงจะเคย categorically ทราบ แต่มีมติชัดเจนว่า ทีมออกแบบทำงานดีจริง ๆ สำหรับช่วงแรกของโครงการ และที่ Utzon อารัป และโรนัลด์เจงกินส์ (พันธมิตรของอารัป Ove) และหุ้นส่วนที่รับผิดชอบโครงการโอเปร่าเล่นเป็นส่วนสำคัญมากในการพัฒนาออกแบบ [34]เป็นปีเตอร์เมอร์เรย์ระบุในเดอะซาของซิดนีย์โอเปร่าเฮ้าส์: [28]...สองคน — และทีมของพวกเขา — เข้าร่วม ที่มีความโดดเด่นใน fruitfulness ของ แม้ มีปัญหามาก ถูกเห็น โดยส่วนใหญ่ของผู้ที่เกี่ยวข้องกับโครงการเป็นจุดสูงของสถาปนิก/วิศวกรทำงานร่วมกันการออกแบบของหลังคาถูกทดสอบบนมาตราส่วนแบบจำลองในอุโมงค์ลมที่มหาวิทยาลัยเซาแธมป์ตันและ NPL ในภายหลังเพื่อสร้างการกระจายความดันลมรอบรูปร่างหลังคาในลมสูงมาก ซึ่งช่วยในการออกแบบกระเบื้องหลังคาและส่วนควบของพวกเขา [35] [36]The shells were constructed by Hornibrook Group Pty Ltd,[37] who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes.[28] The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.Stage III: Interiors[edit]The Concert Hall and organView from the stage of the Concert Hall.View from the stage of the The Joan Sutherland Theatre.Interior of the Studio Theatre.Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. This ultimately led to Utzon's resignation in 1966 (see below).The cost of the project so far, even in October 1966, was still only $22.9 million,[38] less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.
Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design allowed for only 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards."[39]
Significant changes to Utzon's design[edit]
The foyer of the Joan Sutherland Theatre, showing the internal structure and steel framing of the glass curtain walls; the final constructions were modified from Utzon's original designs
View of the Opera House from the Harbour Bridge
The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, incorporated opera and ballet functions and was called the Opera Theatre, later renamed the Joan Sutherland Theatre. As a result, the Joan Sutherland Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre "in the round". These now comprise the Drama Theatre, the Playho
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