SYDNEY OPERA HOUSE

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The Sydney Opera House is the symbol of Australia, just as the Eiffel Tower is the one of France. It was one of the candidates for the New 7 Wonders contest and has recently been declared a World Heritage Site by UNESCO , the only monument whose architect was alive at the time of the designation. Its creator, the laureated Danish architect Jørn Utzon, received the 2003 Pritzker Architecture Prize. But, most importantly, the Sydney Opera House is a masterpiece of architecture, engineering and acoustics at the service of music that has transcended to become the iconic symbol of a nation.

Sunset on the Opera. Photo C.Zeballos

LOCATION.


The Opera House is located north and south on a peninsula called Bennelong Point (Bennelong was the first native who learned English and this is where his home was built in 1790).It is a privileged place at the entrance of the bay of Sydney and that is why in 1817 this place a fort was erected, called Fort Macquarie.

View of old Fort Macquarie on Bennelong Point peninsula.

Over time, a tram station was built on which lasted this area until 1955, when it was demolished to make way to the opera. The peninsula can be seen from all angles, from the sea and from the Royal Botanical Gardens at his back, while enjoying spectacular views from the Harbour Bridge .

Location of the Opera, located north to south at Bennilong Point peninsula. The Harbour Bridge is located to the east and Circular Quay to the south.
See location on Goople Maps

THE COMPETITION


The famous English director and composer Eugene Goossens arrived in Sydney in 1946 to lead the Symphony Orchestra of that city and he was the one who inspired the idea of building a specialized building for the implementation of opera. Unfortunately he detached from Australia in 1956 because of a sex scandal, Goossens sow the initiative which resulted in an international architectural competition in December of that year. The renown Finnish-American architect Eero Saarinen, one of the members of the jury (who arrived late to the event), did recheck some projects that had already been discarded by other judges, and when he saw the almost diagrammatic schemes of the young Danish architect Utzon, he exclaimed: "Gentlemen, here is the opera we are looking for. "

Utzon's original scheme, in which ellipsoidal shapes were still considered.

ARCHITECTURAL PROPOSAL

Before being an architect Utzon had been a sailor and the shape of the sails would be a major influence in its design. But Utzon was not an improvised beginner. He studied in detail the shape of the Bennelong Point peninsula, and knew that the building would become a visual landmark built upon it. He found many similarities with the prominent location of the castle of Kronborg in his native Denmark and to highlight his proposal he used a podium steps, inspired by Mexican ruins of Monte Alban .

The proposal was then based on a series of parabolic shells that were united in a common axis and that covered three buildings, arranged on a platform or podium. The progression of the domes gives the complex great drama and sculptural character, appearing in the distance as floating above the sea. It is actually a group of buildings inside other buildings. The curved shapes that are seen from the bay do not correspond to the ceiling the audience sees inside the opera, since both roofs serve different purposes.

Model made by Utzon showing the two types of roof, the exterior one made out of concrete and the interior for acoustic purposes.

The building consists of three main bodies: the Concert Hall, the Opera House and the Bennelong Restaurant. They contain a Drama Theatre, a music room and a studio, which together have a capacity of 7,000 spectators. Among its 800 rooms, there are 5practice studios, 60 changing rooms, 5 restaurants, souvenir shops, etc.

Detail of the junction of the domes. Photo C. Zeballos

Details of the restaurant. Photo C. Zeballos

But there was a problem. When selecting the winning proposal the jury had no idea how to execute the project. Therefore, after a few months Utzon made a more detailed porposal with the support of Ove Arup in structural design and Vilhem Jordan in acoustic design. To advance with the execution of the work it was decided to carry it out in three stages: the base, the roofs and the interiors. That is, the architects would work on design of the roof, while the foundation and the podium were under construction.

PHASE I: THE BASE

The podium, with an area of 1.8 hectares is developed in two platforms, at 8 and 15 m above sea level. In fact, it is a very interesting experience to walk to the opera from Circular Quay and find with this series of steps that gives a processional, definitely monumental character to the approach to building.

View of the podium from the south, the Royal Botanical Gardens. Photo C. Zeballos

After demolishing the Fort Macquarie, the works of foundations began. Unfortunately Bennelong Point was not as stable as previously thought, so more than 500 concrete poles had to be embedded, while water dammed and pumped out, which significantly increased the costs.

PHASE II: THE COVERINGS

For two years the designers were experimenting with several alternatives for the concrete roofs. The original idea of the parabolic surface was dangerous, because if one collapsed, the others would follow. Utzon also discarded the idea of a metal structure with disguised below cement panels, because it took away honesty from the original project. Working with concrete arches would have give resistance, but to a huge cost because the geometry of the parabola or ellipsoid was irregular and would have had to different sections for each part of the roof.

Evolution in the design of structural alternatives for the coverings

Utzon finally devised an ingenious solution: spherical sections would be used instead of ellipsoidal ones, which greatly facilitated their fabrication. The covers would be made by using "ribs" of a sphere of radius 75 m. These ribs were independent and would not collapse integrally if one of them failed.

Sequence showing Utzon great solution based on a spherical shape. Photo C. Zeballos

3D section of the building process

The ribs were joined with epoxy resin forming arches that were arranged radially like a fan, starting from a pedestal at the base.Once assembled, steel cables would be post-tensed from the base to the top. However, this meant an expensive modification of the podium, which was intended to support just a thin shell of concrete and not a series of much more massive arches.

Details of the concrete "ribs". Photo C. Zeballos

The roof is composed of 10 shells that support each other in three groups. Thus, the A group is composed of four shells supporting each other. The first to be built were the 2nd and 3rd, and then 1st to 4th were supported by them. Thus, the group A is structurally independent from the other groups in the roof and it is supported in six points.

Construction of the domes of Group A. The shell 1 and 4 are based on 2 and 3 respectively. The group rests on three points on each side

Later the group B was built starting by the 6th shell, which is based on the 5th to 7th cover. Note that while the 5th looks as introduced under the 4th cover, in reality both correspond to separate structural groups. Both the group B as C are supported on four points respectively.

The cover is divided into three groups of domes. Photo C. Zeballos

Subsequently the roof was covered with two types of mosaic, one glossy white and the other beige mate, so that building would shine under the sun shines but it would not become a blinding. A million pieces of pottery were manufactured in Sweden and pre assembled in modules before being placed on the cover. This effect appears to give the building a smooth surface while observing it from afar and a texture while approaching to it.

Three details of the mosaics, previously arranged and mounted on the roof. Photos by C. Zeballos

Regarding the glass facades, as can be seen in the original proposal, Utzon had initially thought to give rise to large vertical screens, stressing the importance of the covers. However, later it was decided to increase the drama of the building by proposing a facade composed of metal structures, forming two conical sections that opposes the direction of the slope of the domes.

Detail of the facade, it increases the drama of the domes. Photo C. Zeballos

The glass screens help the external formal structure of the building, while internally promote a sense of smooth visual communication between the interior and exterior.

Two views from the foyer, showing the interior visual relationship with the external environment Photo C. Zeballos

PHASE 3: THE INTERIOR

When the domes were completed, the project had far exceeded the time and money originally budgeted for the construction works. In 1965, David Hughes took over the Ministry of Public Affairs and he began questioning Utzon's work, demanding the complete delivery of the project’s blueprints. Given the innovative nature of the project, Utzon had always worked in a more open and flexible way, in order to facilitate experimentation. But now, due to Hughes demands, Utzon had to pass each plan through the bureaucratic censorship of a politician. Seeing his involvement restricted to the role of a mere "designer", subordinate to the power of executive architects, without any authority in the decision process and suffering the lack of payment, Utzon resigned from his participation in the construction of the Opera.

While thousands took to the streets calling for Utzon to take charge again, Hughes was quick to appoint local substitutes. Because of that mistreatment, Jørn Utzon has not since returned to Australia to see his masterpiece, until his recent death. Peter Hall took out the development of the interiors of the work, changing some of the concepts of Utzon, especially in the opera hall, expanding the galleries and changing the of the ceiling of the concert hall’s original shape.

Inside the concert hall

The building was inaugurated by Queen Elizabeth II in October 1973, 16 years after having started and at a final cost of $ 102 million. In official speeches the name of Jørn Utzon was not mentioned at all.

However in 1999 a number of design principles for the future of opera were entrusted to an 81 years-old Utzon. "It's good to think about the future of opera rather than its past," said the architect. Today Jan, Utzon’s son, also an architect, continues to be linked to the project. In fact, ine of the rooms recently refurbished is named Utzon Room, and contains a tapestry designed by him, representing his feelings when listening to music.

Interior of the Utzon room with a tapestry designed by him.

CRITICISM AND PRAISE

Frank L.Wright used to say that "this circus tent is not architecture," while some have compared the shape of the opera with crawling monsters or with an “orgy of turtles”. However, there have been much more praise tan criticism. Frank Gehry calls it "an epic piece of architecture in our time" and Louis Kahn said of the opera that "the sun never knew how beautiful was its own light until it landed on this building." The opera was considered Cultural Heritage of Australia and Denmark, before it was designated a World Heritage Site by UNESCO on June 28, 2007.

Sydney Opera House on New Year's. Source Wikipedia

A MUSICAL EXPERIENCE

And here I am, small, open-mouthed and overwhelmed by this formidable giant. The Sydney Symphony performance explodes into thousands of notes and multiplies in the air without the need of any electronic amplification equipment. Tchaicovsky’s vivid melodies, Utzon’s fertile creativity and the enormous technical deployment of engineers and builders behind the construction of this monument have found their momentum in this instant: a sublime sound.

Lighting of the Opera against global warming. During my visit Australia suffered a widespread water scarce.Via Inhabitat .

SEE ALSO

CONCERT HALLS

• Kyoto Concert Hall, Japan. Arata Isozaki.

SAITAMA SUPER ARENA

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Architects have been experimenting with the idea of mobile architecture -whose components can be arranged according to the user's changing needs- over the last decades with interesting results. Back in the '60s Kisho Kurokawa proposed his theory of metabolism, in which parts or components, integrated into an urban or architectural unit, could be modified in an extensible structured system.

The Saitama Super Arena (2000) also offers the ability to become flexible, but a much larger scale. It is located in the suburbs of Tokyo, and it is a building that can function as a 37,000-seat stadium, a 22,000-seat arena or a 5,000-seat concert hall. The transformation from one function to another takes only 20 minutes, and it is possible by moving a giant retractable structure of 15,000 tons and 41.5 meters in height across a distance of 70 meters, moving around approximately 9000 seats along with it. But not only seats are displaced but also bathrooms, hallways, offices and various facilities that fit perfectly for the chosen function.

See location on Google Maps

The building is designed to accommodate different events simultaneously, such as concerts, exhibitions and sporting events. Moreover, the height of the roof panels can be adjusted according to the acoustic requirements of every event at a particular time. This mobile structure is remarkable given the safety that this kind of building should offer, especially in seismic zone like Japan.

Images by Ellerbe Becket

This impressive "Transformer-Stadium" was designed by the renowned team of Nikken Sekkei office in partnership with the nearly century-old U.S. company Ellerbe Becket and Flack + Kurtz Consulting Engineers. The building has won several awards due to its high quality and technological innovation.

The front of the venue helps to give the building a monumental and spectacular scale. La fachada curva y acristalada baña de luz al edificio de día y lo convierte en un fulgoroso referente de noche, y está compuesta de dos cuerpos: a nivel peatonal se encuentra un atrio monumental que se abre hacia una plazoleta de recepción, la cual asu vez se comunica con la estación de tren de Saitama mediante un puente. The curved and glazed facade, which allows the building be bathed in light by day and turns it into a glow spot by night, and is composed of two bodies: a monumental atrium that opens onto a courtyard reception, which also communicates with the Saitama railway station via a bridge.

Above it, resembling a flying saucer, there is another cylindrical glass volume which contains gyms and other facilities, supported by a series of columns in "V" shape.


A fan like structure, located more than 60 m above the ground, crowns the building while emphasizes the effect of welcome to the visitor.


However, the design includes elements that compensate this monumentality, giving the Saitama Super Arena a more human scale. Adjacent to the facade lies the John Lennon Museum, a two-story building that houses a collection of the famous ex-Beatle, donated by his widow, the Japanese Yoko Ono. It may seem strange, but this is the first (and only) John Lennon museum in the world.

Photo by Wikipedia

In short, the building is shown with a High Tech aesthetic that prioritizes metal and glass, successfully meeting its demanding and flexible multi-functionality.

Well, I must admit that my visit to this huge building was accidental and not planned, thanks to an enthusiastic invitation from my friend Giancarlo who convinced me to come here to enjoy a concert by U2.
The concert was excellent, but I think I should leave Giancarlo the task to prepare its details, as I am sure he can more accurately portray the concert of the famous Irish group, with the feverish excitement and euphoria that surely must still be dripping by his pores.

I would just like to emphasize a quote from Bono in concert.

"Yesterday we had a wonderful experience while visiting the Church of Light, which was designed by a famous architect, not only here in Japan but around the world: Mr. Tadao Ando..."

Then he dedicated him the song "City of Blinding Lights".

And it's so unusual to talk about architecture in a rock concert!

SEE ALSO:

CONCERT HALLS, ARENAS

• Kyoto Concert Hall. Arata Isozaki.
• Richmond Olympic Oval, Vancouver

ARATA ISOZAKI: KYOTO CONCERT HALL

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The Kyoto Concert Hall is adjacent to the Tadao Ando's Garden of Fine Arts. The Kyoto Concert Hall is the work of another internationally renowned Japanese figure, Arata Isozaki.

Isozaki, (1931 -) was a disciple of a Kenzo Tange, a master of the architecture in the 60s. Arata Isozaki has designed buildings in Asia, Europe and America, and has been a visiting professor at numerous universities, including Harvard, Columbia and Yale. His work skillfully combines the sensibility of traditional Japanese architecture with Western postmodernism, innovating in the use and juxtaposition of materials, using eclectic details and blending elements of the past with technologically sophisticated details.


The Kyoto Concert Hall is a sample of his professional quality. It's a 5-storey building, planned to commemorate the 1200 anniversary of the founding of Kyoto city, opened in 1995 and since then dedicated to the dissemination of classical music, either instumental or choral.

Photo courtesy of D'Arne & Ming

The building houses two concert halls. The Main Hall, has a capacity of 1833 seats and the small hexagonal ensemble -designed for small concerts- contains 500 seats. In addition, it contains offices and large and spacious waiting rooms.

See location on Google Maps

Isozaki se plantea la difícil tarea de lograr una armónica fusión entre pasado y presente, en una ciudad de un patrimonio histórico tan rico como Kioto, ero lo hace sin adherirse a réplicas del pasado tradicional Japonés, ni mucho menos impostando una arquitectura occidental extraña. Isozaki faces the difficult task of achieving a harmonious fusion between past and present, in a city of rich historical heritage such as Kyoto. However, he does not literally copy traditional Japanese elements from the past, nor impose a strange Western architecture.

Plants of the Concert Hall

As Paul Goldberger,a critic from the New York Times, mentioned:

"the real fusion is not between cultures but between eras, between the acceptance of forms transmitted to us and those to come."

Isozaki's scheme, courtesy arcspace.com

La original combinación de Isozaki en la que amalgama ambos estilos, le permite hacer uso de un juego de volúmenes que le da gracia y elegancia a la obra, en la que la masividad ortogonal de la sala de conciertos se ve tamizada por el juego lúdico de unas pantallas curvas de cristal, que coquetean serpenteantes dando lugar a la fachada principal del edificio, el cual tiene la deferencia de retirarse del lindero de la calle, generando un atrio que permite su mejor contemplación. The original combination of amalgam Isozaki in which both styles, allows you to use a series of volumes that gives grace and elegance to the work, in which the massive orthogonal concert hall is screened by the playful game a curved glass screen, that flirt winding resulting in the building's main facade, which has the courtesy to leave the edge of the street, creating an atrium that allows better contemplation.

Llama la atención que el ingreso al recinto no se da por la fachada principal, sino por la lateral. It is noteworthy that entrance to campus is not given by the main facade, but by the side. Como recuerda el propio Isozaki, "hice la aproximación al edificio espacialmente compleja y difícil de entender espacialmente... la forma en que el Salón se alarga, doblándose en varias formas y ascendiendo en espiral. La aproximación a un templo de Kioto nunca es directa. Se dobla y curva. Esa es la técnica que usé para hacer que un pequño espacio parezca más extenso. Usé una técnica tridimensional, no bidimensional." As Isozaki himself recalls, "I made the approach to building spatially complex and difficult to understand spatially ... the way the room is extended, bent into various shapes and spiral upwards. The approach to a temple in Kyoto is never directly . It bends and curls. This is the technique I used to make a space seem larger small tarball. I used a three-dimensional, not two-dimensional. "

At the corner, a stunning sheer volume of conical shape is placed surrounded by clear, calm water. In its first floor the cone houses a French food restaurant (I do not recommend the Japanese style crepes), which can be accessed by a bridge over the water, designed by Isozaki as a remembrance to Japan's tradition. A few blocks of natural stone limit the pool, whose rough surface contrasts with the fine finishing details of the structure.

But the main function of this great black drum is hosting the Ensemble and ramps that lead to higher areas.Frank L. Wright had a similar idea at the Guggenheim Museum in New York and Richard Meier did the same in his museum in Frankfurt: both developed their circulations as helical ramps that allow the access to the various levels. At its core, the helicoid houses a spectacular interior design.Its walls are not vertical, but tilted in the opposite direction to the generatrix of the cone, containing a series of twelve columns that evoke the Zodiac signs, symbols of ancient astrology.Its ceiling is a triangular net of cambered beams, while the design of the floor creates an optical illusion reminiscent of Escher's impossible perspectives.

There are large foyers, a prelude to the main hall and the Ensemble, ideal for post-concert gatherings.Here, Isozaki locates a series of suspended translucent glass partitions that protect the interior from the direct sunlight without interfering with its spectacular view of the nearby botanical garden and evoke the shoji or traditional Japanese screen made of paper and wood.


The main concert hall is a rectangular box, such as the one in the theaters in Boston or Vienna.

This space is the most exquisite one in the building, every detail in his wooden interior has been taken into account to provide comfort, lighting, acoustics during the performances.

It is sober, precise, and serene as a Japanese temple. The interior hosts an impressive organ of over 7000 tubes, which is the visual spot, perpendicular to the room's longitudinal axis.
The hexagonal Ensemble is designed for small concerts or chamber music and can accommodate 500 spectators.The entire lighting system is mounted on a triangular grid, arranged within an metallic ellipse, which Isozaki called a stellar constellation, and it appears to float as a spacecraft on top of the stage.


Here, in brief, polyphonic chorus will execute the soft notes of a traditional Japanese song. In time, the notes of aStrauss minuet coming from the flutes will float among the fine wooden lattice slats, which adorn the bottom of the space so delicately and graciously.

Click here to read the impressions on my visit to Kyoto Concert Hall

SEE ALSO:

CONCERT HALLS, ARENAS

• Kyoto Concert Hall. Arata Isozaki.
• Richmond Olympic Oval, Vancouver

"I made the approach complex and difficult to understand spatially... the way the Hall is long, bending in various ways and then spiralling upwards. the approach to a temple in Kyoto is never straight. It bends and turns. That is the technique used to make a small place seem more extensive. I use that technique three-dimensionally, not two-dimensionally."

Arata Isozaki. From arcspace.com