nomination by the Government of Australia - Sydney Opera House

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104 Part 10. Appendices Works (continued) Offi ce building for Herning Shipping Company (Denmark 1986) Danish Museum for Modern Art at Fredensborg (Denmark 1988) Skagen Odde Nature Centre (Denmark 1999–2000) with Kim and Jan Utzon Can Feliz (Utzon home) on Majorca (Spain 1994) Select bibliography Drew, P 1995, Sydney Opera House: Jørn Utzon, Architecture in detail series, Phaidon Press, London. Faber, T, Sharp, D & Norberg-Schulz, C 1991, ‘Jørn Utzon: special issue’, World Architecture, No. 15. Frampton, K 1996, ‘Jørn Utzon: transcultural form and the tectonic metaphor’ in Studies in tectonic culture: the poetics of construction in nineteenth and twentieth century architecture, Architecture Press, Cambridge Mass. Giedion, S 1967, ‘Jørn Utzon and the third generation’ in Space, time and architecture, 5th edn, Harvard University Press, Cambridge Mass, 68–95. Murray, P 2004, The saga of the Sydney Opera House: the dramatic story of the design and construction of the icon of modern Australia, Spon Press, London and New York. Norberg-Schulz, C 1980, ‘Jørn Utzon: Sydney Opera House, Sydney, Australia, 1957–73’, Global Architecture, Vol. 54, March 1980, 54–58. Edited and photographed by Yukio Futagawa, A.D.A. Edita, Tokyo. Weston, R 2002, Utzon: inspiration, vision, architecture, Edition Bløndal, Hellerup.
10.3 Ove Arup (1895–1988) Ove Nyquist Arup (Figure 10.2) was born in 1895 at Newcastle-upon-Tyne, England. His mother was Norwegian and his Danish father served for some time as the Danish Government’s veterinary offi cer to the United Kingdom. Ove Arup attended schools in Germany and Denmark before studying philosophy and mathematics at the University of Copenhagen where he graduated in 1916. From 1916–1922 he studied civil engineering at the Royal Technical College, Copenhagen. Arup started work as a designer for the Danish civil engineering designers and contractors Christiani & Nielsen in 1922 in their offi ce in Hamburg, Germany. He moved to London in 1923 and became Christiani & Nielsen’s chief designer in 1925. While his main activities were civil engineering (mainly marine structures) he became increasingly interested in architecture and the Modern Movement. He became friends with several leading architectural fi gures, joined the Architectural Association and became active in the Modern Architecture Research Society, known as the MARS Group. In 1933 Tecton (an architectural fi rm led by Berthold Lubetkin) invited Arup to work on Highpoint 1, an apartment block in London. Arup proposed the use of reinforced concrete (not generally used for multi-storey construction at that time) and a simplifi ed construction method using movable, reusable formwork. When Christiani & Nielsen decided not to proceed with the Highpoint project, Arup moved to Danish fi rm JL Kier & Co as director and chief designer on the condition that they take over the project. Highpoint 1 came to symbolise some of the tenets of the Modern Movement. Arup worked with Lubetkin on a number of other landmark projects including the much admired Penguin Pool at the London Zoo. In 1938 Ove Arup founded two civil engineering companies with his cousin Arne Arup: Arup & Arup Ltd and Arup Designs Ltd. He resigned from Arup & Arup in 1946 to establish an independent engineering consultancy with offi ces in London and Dublin. For a short period, he retained the right to the registered name Arup Designs Ltd. In 1948 he took in three partners to found the practice of Ove Arup & Partners. By the mid-1950s Ove Arup & Partners was established and growing with a client base that included many of the major architectural practices in the British Isles. The fi rm had a particular interest in modern architecture. Its core activity was to pioneer advanced and economical solutions to buildings, particularly their structures. A key project was the Rubber Factory at Brynmawr, Wales (with the Architects Co-Partnership) that attracted world attention, especially for its ingenious roof of nine shallow, long-span reinforced concrete shells. Arup’s credo of multidisciplinary collaboration found expression in the fi rm’s acquisition and development of all the skills necessary for the design of buildings and civil engineering works. In 1957, Arup’s fi rm was appointed as the consulting engineers for the Sydney Opera House project. This led to a nine-year partnership between Utzon and Ove Arup & Partners that was to result in pioneering solutions to the many structural and architectural challenges of the project. The most remarkable aspect of this collaboration was the building of the iconic roof structure. Between 1958 and 1962 Arup, his partners and staff collaborated intensively with Utzon in Denmark and London and developed a number of geometric shapes which resulted in a simplifi ed spherical geometry. This introduced the possibility for repetition in the manufacture of the precast elements for the roof. Ove Arup & Partners also made extensive use of computers in the technical work associated with the design of the project. It was one of the fi rst applications of digital technology to building. After Utzon’s departure in 1966 the fi rm worked with his successors Hall, Todd & Littlemore until completion of the Sydney Opera House in 1973. Figure 10.3 Ove Arup 105
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SYDNEY OPERA HOUSE NOMINATION BY TH
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SYDNEY OPERA HOUSE NOMINATION BY TH
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4 PREFACE Australia is pleased to p
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1.A COUNTRY Country - Australia 1.B
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The topographic map shows the locat
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PART 2. DESCRIPTION 11
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14 Part 2. Description 2.2 The comp
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16 Part 2. Description 2.6 2.7 2.8
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18 Part 2. Description The glass wa
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20 Part 2. Description 2.19 Further
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22 Part 2. Description 2.23 Interna
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24 Part 2. Description The Sydney O
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… we’re here to nudge forward t
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Utzon’s design modifi ed the esta
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In the Sydney Opera House Jørn Utz
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Utzon’s reading and use of histor
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3.17 3.18 Utzon’s genius is manif
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The podium The construction of the
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3.24 Figure 3.24 Arups’ summary o
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3.28 engineers Jorg Schlaich and We
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3.32 The Sydney Opera House holds a
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3.34 3.35 The setting of Bennelong
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3.36 qualities and precise, geometr
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3.39 3.40 3.41 Masterpieces of the
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3.43 also inspired by the laws of n
Page 55 and 56: 3.45 3.D INTEGRITY AND AUTHENTICITY
Page 57 and 58: Materials and substance The use and
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Page 67 and 68: 5.A OWNERSHIP The Sydney Opera Hous
Page 69 and 70: 5.C MEANS OF IMPLEMENTING PROTECTIV
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Page 73 and 74: 5.3 Sydney Opera House: a plan for
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Page 85 and 86: 7.A PHOTOGRAPHS, SLIDES, IMAGE INVE
Page 87 and 88: 7.B TEXTS RELATING TO PROTECTIVE DE
Page 89 and 90: Baume, M 1967, The Sydney Opera Hou
Page 91 and 92: Hall, P 1981, Great planning disast
Page 93 and 94: Sommer, D, Stöcher, H & Weisser, L
Page 95: 893 PART 8. CONTACT INFORMATION
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Page 100 and 101: 98 PART 9. SIGNATURE ON BEHALF OF T
Page 103 and 104: 10.A BIOGRAPHIES OF JØRN UTZON AND
Page 105: Awards In addition to the awards de
Page 109 and 110: 10.B LIST OF ILLUSTRATIONS Front co
Page 111 and 112: Figure 3.30 Photograph by Max Dupai
Page 113 and 114: Other contributors Sydney Opera Hou
Page 115 and 116: Figure 10.6 1902 Fort Macquarie is
Page 117 and 118: B 10.E PLANS, SECTIONS AND ELEVATIO
Page 119 and 120: EASTERN ELEVATION WESTERN ELEVATION
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