Sydney and Construction Opera Design
Summary
In this PDF, the design and construction of the Sydney opera or the Sydney Opera house will be shown, when the architect had to create such a magnificent work, in which the architect Jørn Utzon was inspired for thatconstruction site.
Introduction
The Sydney Opera House is an expressionist construction and with a radically innovative design, consisting of a series of great prefabricated shells, each taken from the same semi -sphere, which form the roofs of the structure. Project that was considering as “impossible to believe“ however the desire oriented to the search for pleasure, allowed its culmination, marking a new milestone in the architectural conception (Zavala, 2012). Sydney opera condenses in a single building much of the aspects exposed above in relation to the influence that the methods of representation and structural analysis exert on the conception of construction of architectural works. If this building was intended to build today, with total security the course of events would be developed by very different paths. Given this assumption, possible structural schemes are raised for the covers of said building respecting the "free" form originally proposed by Utzon as well as its laminar character, highlighting the impact that personal computers and associated computer programs have had in the manner ofConceive and build buildings (Rey-Rey, 2014). The importance of the project, the international resonance that its unusual design produced, and above all the circumstances and incidents that led to the exit of Utzon’s scene, it has great interest from the professional point of view and justify that we explain in some detail that occurredAnd let’s try to make clear the reasons that occurred (Candela, 1967).Although there was a great construction problem, the architect followed his plans to build that work. But Sydney’s opera was more a ‘swan song’ than the opening of a new way or of any continuity: exacerbated organicism -integrating the exalted expressionism in which Aalto barely wanted to enter and was prolonged by Scharuun with skill and extreme sensepractical-gathered with as much glory as an Áulica Solemnidad the old expressionist alternative to rationalism (Capitel, 1995). The work of the Danish teacher Jørn Utzon has been forged on his fascination with constructive experimentation and landscape integration, in an architecture that condenses vernacular and lirismLatest works (Ferrer & Cervero, 2018). The theater, ballet, opera or musical productions are carried out in the building.
Developing
The initial structure that each room had to cover, imagined by Utzon, was based on four pairs of triangular shells that were supported at their ends against the ground, and three in a row against the last one in the intersection arch. The final proposal will start from the concept of arch, but of sphere: surface – parabolic art.line profile. Prefabrication and constructive rationality are incorporated into the process as the first order to solve the new roofs: the various ribs that should structure the shells would be, from now on, exactly the same (Carabí-Bescós, 2017). Faced with the uncertainty of the construction of candles, the podium design was clear and forceful (Peñín, 2012). The structures in which its shape is optimized tend to work only by traction or only compression;With what somehow, both achievements are almost antagonistic. And the truth is that in order to understand the way in which the evolution of the calculation of structures has influenced the designers, it is essential2017). The project was executed in three stages:
- Stage I (1959–1963) consisted of building the upper podium;
- Stage II (1963–1967) consisted of the construction of external vaults;
- Stage III (1967–1973) consisted of interior design and construction.
conclusion
The structural solution for the covers was a great challenge for Jørn Utzon and Ove Arup & Partners, who triedPrevious experience for the construction of a peel of this magnitude. During the construction of the podium, the shells were still under study (Ferrer, 2018). Its design for the concert hall was also discarded because it only accommodated 2000 seats, which was considered insufficient.10 UTZON used the acoustic consultant Lothar Cremer, and his designs for the main halls were modeled and revealed later high quality. The subsequent versions of Todd, Hall and Littlemore of the two main rooms have some acoustic problems, particularly for execution musicians. The orchestra pit at the opera theater is narrow and dangerous for musicians.
In the development of every creative process, Utzon took sufficient distance to place himself in that parallel plane where thoughts have light feet, and from this imaginary place, he glimpsed horizons of different worlds from different angles. From this imaginary place, Utzon was surrounded by a landscape formed by his own experience of the world, his culture, his way of thinking and feeling. In him he became aware of himself and integrated all these experiences (Alba, 2011).
References
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- Zavala, á. (2012). Scientific Magazine of the UANCV, 9 (1), 96-103.
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