nomination by the Government of Australia - Sydney Opera House

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40 Part 3. Justifi cation for inscription The placement of the prefabricated ribs demanded the use of new building methods and computer technology. An adjustable mounting and assembly steel erection arch was invented especially for the project by a French engineer working for the building contractor the Hornibrook Group (Weston 2002: 140). This invention removed the need for a mass of scaffolding to support the prefabricated shell ribs that were to be built on site. The 4.5 metre precast rib segments were lifted into place by one of three tower cranes that travelled on rail bridges, progressing along the axis of the shell as each rib segment was completed. An innovative epoxy resin process was developed for bonding the segments together, following extensive research by the Cement and Concrete Association (England) and the University of New South Wales (Australia). This achieved a smooth concrete effect which was vital for Utzon’s design as the concrete surfaces of the shells would remain exposed in many of the building’s interiors. The use of epoxy in concrete construction was in its infancy at the time and much research was undertaken to develop a suitable resin with the necessary strength, appearance and weathering characteristics (Murray 2004: 53; Addis 2005). It was an emotional moment when the shells eventually took solid form. The realisation of the colossal human and technological achievement struck home for all who had been involved in its creation. Architect Peter Myers remembers ‘being on site when the plywood forms were removed from the concrete beams that arc up either side of the northern foyers like the ribs of a fan. The concrete was perfect, the edges were pure, there wasn’t a blemish,’ Myers said. He turned to see tears running down Utzon’s face. ‘And then I saw that 3.25 3.26 3.27 Figure 3.25 A special mounting system was invented to place the precast concrete ribs. Figure 3.26 The roof shells with their prefabricated ribs take shape, 1965. the tough Italian workers were crying too. Their pride in workmanship was being acknowledged, and we were all transported by what had been achieved’ (The New Yorker, 17 October 2005: 100). The glass walls The design solution for the glass walls pushed the boundaries of contemporary technology to the limit and took eight years to complete. Such a design was unprecedented and Utzon had not completed a design solution prior to his departure. Architects Hall Todd & Littlemore and engineers Ove Arup & Partners devoted much time to the complex design and engineering challenges posed by Utzon’s design concept. Extensive research, experimentation and testing were undertaken to resolve the problems which involved calculation of the load-bearing characteristics of the glass; design of a supporting framework that would load the glass to a degree it could withstand; investigation of structural materials for the mullions; and construction and erection of prototypes under the shells. The fi nal solution was a design of planar glazing with minimal external mullions and internal steel structure set back from the glass. The glass walls were a considerable design and engineering achievement. They were the fi rst largescale example of the use of glass in a building both as a structural material and as a window and became ‘the precursor of a style of enclosure that has now become commonplace’ (Murray 2004: 129). The Sydney Opera House was the forerunner of many dramatic glass walls that have been constructed since, notably the glass wall at La Villette in Paris by Peter Rice (who worked for Ove Arup & Partners on the Sydney Opera House) and the engineered glass structures of the eminent German Figure 3.27 The glass walls to the northern foyer
3.28 engineers Jorg Schlaich and Werner Sobel (Addis 2005). The walls won Ove Arup & Partners an award for engineering excellence in 1972 from the Association of Consulting Engineers of Australia. The external tile cladding of the shells The spectacular tiled surface of the shells represents a great architectural triumph and exemplifi es Utzon’s marriage of craft and technology, tradition and the search for new forms of expression. Utzon believed that the covering for the gigantic curved forms of the shells would have ‘the greatest infl uence on the visual impact’ of the building (Weston 2002: 148). The right materials were needed to create an appearance that would match and emphasise the simple and 3.29 3.30 Figure 3.28 The Sydney Opera House by night Figure 3.29 The lightweight tile lids were constructed of a thin slab of concrete reinforced with wire mesh. This system was developed by Pier Luigi Nervi and enabled the thinnest possible slab. powerful geometry of the shell structure. After investigating materials used in ancient buildings, Utzon chose ceramic tiles partly because of their beautiful, harmonious patina. Utzon determined the colour and fi nishes for the tiles following his studies of the art of ceramics in China and Japan and after examining the textures, colours and glazes of samples that he brought back to Australia. Figure 3.30 The precast tile lids awaiting placement 41
Page 1 and 2: SYDNEY OPERA HOUSE NOMINATION BY TH
Page 3: SYDNEY OPERA HOUSE NOMINATION BY TH
Page 6 and 7: 4 PREFACE Australia is pleased to p
Page 9 and 10: 1.A COUNTRY Country - Australia 1.B
Page 11 and 12: The topographic map shows the locat
Page 13: PART 2. DESCRIPTION 11
Page 16 and 17: 14 Part 2. Description 2.2 The comp
Page 18 and 19: 16 Part 2. Description 2.6 2.7 2.8
Page 20 and 21: 18 Part 2. Description The glass wa
Page 22 and 23: 20 Part 2. Description 2.19 Further
Page 24 and 25: 22 Part 2. Description 2.23 Interna
Page 26 and 27: 24 Part 2. Description The Sydney O
Page 29 and 30: … we’re here to nudge forward t
Page 31 and 32: Utzon’s design modifi ed the esta
Page 33 and 34: In the Sydney Opera House Jørn Utz
Page 35 and 36: Utzon’s reading and use of histor
Page 37 and 38: 3.17 3.18 Utzon’s genius is manif
Page 39 and 40: The podium The construction of the
Page 41: 3.24 Figure 3.24 Arups’ summary o
Page 45 and 46: 3.32 The Sydney Opera House holds a
Page 47 and 48: 3.34 3.35 The setting of Bennelong
Page 49 and 50: 3.36 qualities and precise, geometr
Page 51 and 52: 3.39 3.40 3.41 Masterpieces of the
Page 53 and 54: 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
Page 59: PART 4. STATE OF CONSERVATION AND F
Page 62 and 63: 60 Part 4. State of conservation an
Page 64 and 65: 62 Part 4. State of conservation an
Page 67 and 68: 5.A OWNERSHIP The Sydney Opera Hous
Page 69 and 70: 5.C MEANS OF IMPLEMENTING PROTECTIV
Page 71 and 72: 5.2 Sydney Regional Environmental P
Page 73 and 74: 5.3 Sydney Opera House: a plan for
Page 75 and 76: 5.5 5.6 • • • • • An on-s
Page 77: 6PART 6. MONITORING 75
Page 80 and 81: 78 Part 6. Monitoring 6.2 Figure 6.
Page 82 and 83: 80 Part 6. Monitoring 6.C RESULTS O
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
Page 98 and 99:
96 Part 8: Contact information 8.C
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 and 106:
Awards In addition to the awards de
Page 107 and 108:
10.3 Ove Arup (1895-1988) Ove Nyqui
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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