nomination by the Government of Australia - Sydney Opera House
nomination by the Government of Australia - Sydney Opera House
nomination by the Government of Australia - Sydney Opera House
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3.28<br />
engineers Jorg Schlaich and Werner Sobel (Addis<br />
2005). The walls won Ove Arup & Partners an award<br />
for engineering excellence in 1972 from <strong>the</strong> Association<br />
<strong>of</strong> Consulting Engineers <strong>of</strong> <strong>Australia</strong>.<br />
The external tile cladding <strong>of</strong> <strong>the</strong> shells<br />
The spectacular tiled surface <strong>of</strong> <strong>the</strong> shells represents<br />
a great architectural triumph and exemplifi es Utzon’s<br />
marriage <strong>of</strong> craft and technology, tradition and <strong>the</strong><br />
search for new forms <strong>of</strong> expression. Utzon believed<br />
that <strong>the</strong> covering for <strong>the</strong> gigantic curved forms <strong>of</strong><br />
<strong>the</strong> shells would have ‘<strong>the</strong> greatest infl uence on <strong>the</strong><br />
visual impact’ <strong>of</strong> <strong>the</strong> building (Weston 2002: 148). The<br />
right materials were needed to create an appearance<br />
that would match and emphasise <strong>the</strong> simple and<br />
3.29 3.30<br />
Figure 3.28 The <strong>Sydney</strong> <strong>Opera</strong> <strong>House</strong> <strong>by</strong> night<br />
Figure 3.29 The lightweight tile lids were constructed <strong>of</strong> a<br />
thin slab <strong>of</strong> concrete reinforced with wire mesh. This system<br />
was developed <strong>by</strong> Pier Luigi Nervi and enabled <strong>the</strong> thinnest<br />
possible slab.<br />
powerful geometry <strong>of</strong> <strong>the</strong> shell structure. After<br />
investigating materials used in ancient buildings, Utzon<br />
chose ceramic tiles partly because <strong>of</strong> <strong>the</strong>ir beautiful,<br />
harmonious patina. Utzon determined <strong>the</strong> colour and<br />
fi nishes for <strong>the</strong> tiles following his studies <strong>of</strong> <strong>the</strong> art <strong>of</strong><br />
ceramics in China and Japan and after examining <strong>the</strong><br />
textures, colours and glazes <strong>of</strong> samples that he brought<br />
back to <strong>Australia</strong>.<br />
Figure 3.30 The precast tile lids awaiting placement<br />
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