土木工程概念設計 Conceptual Design Studio
Sydney Opera House 1、 Introduction
T
he Sydney Opera House sits on a 1.84 hectors of land, reaches approximately 20 stories in height; it is credited as one of the greatest architectures of the 20th century. Gracefully parks on the quiet Sydney Bay, the white wind sail shaped dorm leaks out the bold and daring creativity of the designer in its time, weaving with its surroundings into a poetic beauty. After 3 decades, the Sydney Opera House till this day remains the soul of Sydney, the world renowned art temple; it is the symbolic landmark for Sydney and the pride of Australia for centuries. In 2007, it was made the World Heritage Site by the UNESCO.
│雪梨歌劇院│Sydney Opera House│
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土木工程概念設計 Conceptual Design Studio
The idea of Sydney Opera House originated in the 50s when the Australian government responded to the public need for an opera house in Australia, and called to the world for the design submission in 1955. The rules for the contestants included a grand hall that could accommodate 3000 people and a smaller hall for 1200 people. Both halls must encompass different venues including opera, symphony, chorus performances, large scale conferences, seminars, ballet and others such as lecturers and speeches. In 1957, Jørn Utzon, a designer from Denmark, triumphed out of the 233 designing pieces from 28 countries and ranked number one in the contest. Utzon visited Sydney in 1957, later moved his studio to Sydney in February 1963 for supervising the construction of the opera house. He became known internationally for the Sydney Opera House, and was awarded with the highest honor in the world of architect, the “Pritzker Architecture Prize”, in 2003. It took 16 years, cost 12 million Australian dollars to build the Sydney Opera House. Due to the shortage of funding, the Australian government issued Sydney Opera House Lottery in 1959 to raise the construction fee. Finally finished in 1973, Sydney Opera House became an architectural miracle of its era for overcoming of the funding shortage as well as the construction technology. Sydney Opera House situates on the Bennelong Point where is surrounded by the sea on three sides. Accompanies by the Sydney Harbour Bridge, the Opera House displays various faces from different angles and in different times of a day. Since the day it was opened to the public, it has been attracting tourists from all over the world to pay tribute to its majestic glamour.
│雪梨歌劇院│Sydney Opera House│
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Photo 1 Surrounded by sea on three sides, the Sydney Opera House faces the beautiful view of vast sea port and sailing ships.
Photo 2 Sydney Opera House locates in the midst of the busy city, in front of the crowded high rise buildings. It is a leisure oasis in the concrete jungle.
Photo 3 Contrasting from the square buildings in the back, the eccentric shape of the Sydney Opera House displays the bold and daring creativity of the designer in its time. │雪梨歌劇院│Sydney Opera House│
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土木工程概念設計 Conceptual Design Studio
2、 Sydney Opera House Design Contest 2.1
Open for Submission
At the end of the 40s, people of the Australia petitioned their demand to the government for an opera house. The Australian government began the idea of building an opera house in 1950, and they actively summoned committees in proceeding with the selection of the designs for the Sydney Opera House. The term of the design selection was to include "a grand hall that could accommodate 3000 people and a smaller hall for 1200 people. Both halls must encompass different venues including opera, symphony, chorus performances, large scale conferences, seminars, ballet and others such as lecturers and speeches." The international contest began in 1955 and ended in 1957 when the selection was made. In the two years, there were 233 submissions from 28 countries. The four judges at the time were Ashworth, Parkes, Martin, and Saarinen.
Photo 4. The judges reviewed Utzon’s work, from the left: Ashworth, Saarinen, Parkes and Martin. │雪梨歌劇院│Sydney Opera House│
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2.2
The Final Selection
The four judges must vote to choose the number one selection for this contest, and they based on their own professional specialty to review all the submissions. One story told that Saarinen was the last judge to arrive when the other three had already began their reviews. When he arrived, he heard that the designing piece numbered 281 has a very unique appearance and the support of the structure could not be found, he went to the ‘discarded’ section to look for 281. This designing piece belonged to a Danish architecture designer Jørn Utzon. His work was distinctive from others with its daring design that went beyond the traditional architectural perspectives. In the eyes of the other three judges, such a design was impossible to build; hence there was no chance for it to be selected. However, Saarinen, whose background was also architecture, was greatly marveled by Utzon’s design. He thought it was a masterpiece from a genius. After seeing the finalist works listed by other three judges, he further confirmed his persistence to Utzon’s work and thought that it should be chosen as the number one work. However, Saarinen’s influence among the judges was insignificant. So he first convinced Martin, who was the most authoritative, to recognize with Utzon’s work; and finally the last two judges turned their minds to also agreed that Utzon’s work should be the winner of the contest. The second story was that the contest was judged according to fairness and equality; that the first story was merely, a story. However the process of the review, the Sydney Opera House today already made the people of the world experience the unique creativity of Jørn Utzon. Photo 5 During the selection process of the Sydney Opera House International Contest, the judges concentrated on reviewing the works of the designers. │雪梨歌劇院│Sydney Opera House│
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2-3
The Birth of A Champion
When the winner of the Sydney Opera House design was chosen, the newspapers of the following day posted the works of number one through three of this contest. Number one design was from Jørn Utzon the Danish architecture designer. Number two came from an architecture design team in the USA. Utzon was only 38 years of age when he won the contest. He has won a number of Danish architecture designing contests, but this was his first award received from a contest that was not in Demark. Comparing to other design works, Utzon’s concept went out of the general architectural framework. His design was neither conventional square or round shape but a structure that did not exist at that time. Though the overall design showed his unconventional creativity, it was also a great challenge in his life time. Photo 6 Newspapers that posted the award winning designs of the Sydney Operation House International Contest. Number one work came from Danish architecture designer Jø rn Utzon, number two was from the architecture design team in the USA. Photo 7 Jø rn Utzon at the age of 38. │雪梨歌劇院│Sydney Opera House│
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Photo 8 One of the Judges of the Sydney Opera House Design Contest, Saarinen greatly appreciated Utzon's work. He re-drew it and signed his own name at the bottom right corner.
Photo 9 Jø rn Utzon and the opera house model.
Photo 10 Sydney Opera House Overview Conceptual Drawing.
│雪梨歌劇院│Sydney Opera House│
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Photo 11 Sydney Opera House conceptual drawing as sketched by Jø rn Utzon in the red book in 1958.
Photo 12 Side and overview sketches of the Sydney Opera House. Prime Minister Cahill, Sidney Opera House Chief Commissioner Stan Haviland, and the design drawing of Utzon. │雪梨歌劇院│Sydney Opera House│
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3、 Master of Creative Architecture Design - Jørn Utzon 3.1
Growing Up and Education Background
Utzon was born in Denmark on April 9th, 1918. His father was in the navy, so he dreamed of becoming a naval officer when he was a child. As a child, Utzon admired his father’s ability in designs. His father was very skillful in designing yachts, under such influence, Utzon gradually established his basic concept in design including drawing and model making. In 1937, Utzon studied in the Department of Architecture at the Royal Academy of Arts in Copenhagen, Denmark. Two of his teachers were passionate about the Chinese architecture and their designing ideas influenced Utzon greatly. Utzon graduated from the architecture department in 1942, because of the WWII, he lived in Stockholm of Sweden working for Asplund in his studio to avoid the German troops. At the time, the importation of concrete and other constructional materials were restricted. A group of Swedish architects began to use local low cost materials and simple structure for construction. Simple and neat appearances with well-in-order structure were the points of construction that eradicated unnecessary luxury elements. This trend was called the “Empiricism” and it affected Utzon enormously. After working in Sweden for three years, Utzon went to Helsinki of Finland to work with Alvar Aalto. Aalto was a master of architecture and the experience of working with Aalto became the turning point of Utzon’s creativity development. However, Utzon considered travelling and field research were the most direct and effective ways of getting in touch with different architectures of the world, so he began his architecture pilgrimage in 1948. │雪梨歌劇院│Sydney Opera House│
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3.2
Travel and Explore
Utzon began his travelling in 1948, he visited Europe and Morocco where he was fully bathed in the Islamic construction methods and skills. Through the field research on architectures, Utzon was able to experience the different cultures and different performances of the buildings in different countries. He also was able to observe how architecture fit naturally into its surroundings and display a natural and coordinated beauty. In 1949, Utzon travelled to the US and Mexico. The architecture styles of the Mayans and the Aztecs inspired Utzon’s creativity and cast influence to his later designs. Utzon returned to Denmark in 1950 and set up his own studio, he then participated in various design contests in Demark. Utzon reached the distant and mysterious orient, the Asia, in 1959, where He visited China, Japan, India and Nepal. He studied traditional Chinese architecture in Asia and found that the gravity of the western structure was inside the walls when the eastern structure was in the ground. Utzon later visited Iran where he learned the urban planning and structures, market trade and ceramic decors. In viewing Utzon’s vast and rich travelling experiences, we understand that his architecture concept was not restricted within the framework of traditional Danish architecture; he gradually expanded his knowledge and modified his thinking logic through his unceasing travel and receiving stimulation from the new architectures that he encountered. His travelling experience had a profound influence to his later architecture design creativities.
│雪梨歌劇院│Sydney Opera House│
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3.3
Designing the Sidney Opera House
In 1957, Utzon participated in the Sydney Opera House contest and won. He came to Sydney Australia for the first time in the same year, a country that located in the southern hemisphere, a land that was half a world away from him. Because of his creative design, Sydney now owns its world renowned symbolic landmark and shines on the international stages. The Sydney Opera House began construction in 1959; the first stage was building the podium. When the construction work proceeded to the roof in 1963, Utzon and his family relocated to Sydney to supervise the construction work. Many obstacles occurred during the building of the roof that resulted in numerous reconstructions. Finally the roof was finished in 1966. The same year, Utzon and the new administration shared different concepts when the Minister for Public Works of the new administration, Hughes, seriously questioned Utzon’s ability, and suggested to remodel the interior design that Utzon had already finished. Utzon’s insistence on his design was in difference with the Australian government and the government ceased paying his fee. Utzon resigned and left Australia and since then never returned. In 2008, Utzon died from heart attack, he never had a chance to see for his own eyes this building that made him known to the world, the finished work of the Sydney Opera House. Photo 13 Mr. Utzon and the model of the Sydney Opera House.
│雪梨歌劇院│Sydney Opera House│
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Photo 14 Mr. Utzon discussed the roof structure of the Sydney Opera House with the engineers.
Photo 15 Putting up the first batch of the Sydney Opera House roof model. │雪梨歌劇院│Sydney Opera House│
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│雪梨歌劇院│Sydney Opera House│
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4、 Sydney Opera House Construction Plan From idea to completion, the Sydney Opera House went through series of setbacks. The construction plan was divided by three stages: stage 1 the podium, stage 2 the roof and stage 3 the interiors. The three stages altogether took 14 years to complete, each stage encountered unexpected obstacles, and each stage tested the wisdom and the problem solving imagination of the engineering teams. 4.1 Stage 1 : Podium The design of Sydney Opera House was chosen in 1957 and the winner was Jørn Utzon. The Australian government then began with the construction plan and the first stage was building the podium. From the design drawing of the Sydney Opera House, we understood that the design orientation was on the shape of the roof. The podium must sustain the huge proportion of the roof. Construction of the podium commenced on December 25th 1958, unfolded the historical construction of the Sydney Opera House. Civil & Civic was responsible for this construction work, and Ove Arup & Partners was in charge of the supervising work. Utzon, the designer, did not participate in the supervising work during this stage. The construction of the podium took 4 years. Within this four years time, many of the unexpected obstacles occurred including: 1) the weather condition, 2) the unexpected storm water diversion, 3) the change of the contract, and 4) the strength of the podium was insufficient to sustain the roof structure. However, the construction team managed to overcome all the problems.
│雪梨歌劇院│Sydney Opera House│
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Photo 16 Many obstacles occurred during the building of the podium; it was finally completed in February of 1963.
4.2
Stage 2 : Roof
After the completion of the podium, the next stage was the highlight of the design, the roof. The roof was the key construction work stage of the Sydney Opera House, as the shape of the roof was a unique design. Jørn Utzon was in charge of this stage and he and his family relocated to Sydney in 1963 to supervise the construction of the Sydney Opera House. The single sheet structure of the roof in Utzon’s roof design was called the “shell”. This shell like structure was originally defined as the parabolas formed by concretes. The engineering team was unable to find a way to build these shell like 15 │雪梨歌劇院│Sydney Opera House│
土木工程概念設計 Conceptual Design Studio
structures as there were no geometrical definitions. The team tried a dozen ways of constructing the shells, finally Mr. Utzon came up with an idea on how to build them when he was peeling orange skin. He thought the shell structure could be formed by ways of spheres, using mold pieces with same curves to form the body of the shell in different length, then connecting these arched sectional structures with different length to form a sphere dissection. In other words, the construction method of the shell must be derived from the calculation of a round shape (sphere). However, some also said that this method was given to Utzon by his teacher Aalto. After finding the methods to build the shell, Utzon and the engineering team began conducting the sophisticated calculation on the roof structure by using the computer algorithm which was newly invented at the time. When the data of the roof structure was generated, they then followed the data to conduct the building of the shell structure. Once the complicated roof structure was completed, the tiling of the roof began. As the Sydney Opera House was surrounded by sea on three sides, Swedish ceramic tiles were used as the roof tiles to prevent the corrosion from the sea breeze. A total of over one million pieces of tiles were used in this tremendous construction. From the structure to the tiling, the roof took four years to complete. Mr. Utzon finally finished with this unique roof after many trials and errors. Photo 17 Mr. Utzon found the way to build the shell by drawing spheres.
│雪梨歌劇院│Sydney Opera House│
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Photo 18 Mr. Utzon introduced the way he found in building the shell.
Photo 19 Building process of the roof.
Photo 20 The solution of the shell is like the model of the ball, the same shells come from the same group of arched sphere.
Photo 21 The construction of the shell was calculated by the computer to generate structural pieces in different data. │雪梨歌劇院│Sydney Opera House│
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Photo 22 The structure and the process of the roof construction were calculated carefully.
Photo 23 Mr. Utzon used drawing in his yellow book to assist his contemplation on problem solving.
│雪梨歌劇院│Sydney Opera House│
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Photo 24 There are 12 different construction methods of roof during building process. │雪梨歌劇院│Sydney Opera House│
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Photo 25 Left: The tiling process of the roof.
Right: roof after tiling.
Photo 26 Finished roof of the Sydney Opera House, the detailing work of the construction can be observed from different angles.
│雪梨歌劇院│Sydney Opera House│
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Photo 27 1950s : the first computer used in calculating the structure of Syidney Opera House.
Photo 28 Construction process of the Sydney Opera House.
│雪梨歌劇院│Sydney Opera House│
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土木工程概念設計 Conceptual Design Studio
Photo 29 The simulation drawings of the erected Sydney Opera House roof made in 1963.
Photo 30 The cross section diagram of the major shell of the Sydney Opera House, indicating the supporting beam structure. Photo 31 Pressure distribution diagram after the wind tunnel testing shows the test result of the major shell of the opera house.
│雪梨歌劇院│Sydney Opera House│
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4.3 Stage 3 : Interior When the podium and the roof were completed, Mr. Utzon had already finished with the interior designs. However, due to the delay of the roof and the seriously over budget in the construction fees, Minister Hughes for the Public Works of the new administration was not very pleased with Utzon’s design and questioned his professionalism. The Australian government ceased paying Utzon’s fee and planed to re-construct Utzon’s interior designs. Utzon insisted on his idea and was in great difference with the Australian government. He then left Australia and never returned in his life time. The construction was taken over by Australian engineer Peter Hall. However, due to the interior reconstruction, the overall construction fee seriously went over budget. In order to solve this problem, the government issued Sydney Opera House Lottery to raise funds and overcame the insufficient funding crisis. Photo 32 The interior of the Sydney Opera House. The interior design was not the original design of Mr. Utzon but the designing concept of Australian designers.
│雪梨歌劇院│Sydney Opera House│
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Photo 33 Interior structure 3D diagram of the Sydney Opera House and 1:120 side view model. Photo 34 Construction process of interior of the Sydney Opera House. Designed by Hall, Todd and Littlemore in 1971, the interior was very different from the concept of Mr. Utzon.
│雪梨歌劇院│Sydney Opera House│
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4.4
Completion : Sydney Opera House
Sydney Opera House was officially opened on October 20th, 1973. Queen Elizabeth II was invited to observe the ceremony. The budget for building the Sidney Opera House was 7.2 billion Australian dollars; by completion, the total cost was 102 billion Australian dollars, which was 14 times of the original budget. It took 16 years for the Sydney Opera House to rise from concept to reality; each and every step of the way was a trial. Such a grand construction was built upon the wisdom and hard labor of many people. Even though the process was such a harsh trial, it added a memorable touch to this historical masterpiece. While admiring the majestic glory of the Sydney Opera House, do bear in mind that each brick of this cross-century legacy represents the faith and insistence of Mr. Utzon and the hard work of many people. Photo 35 Ove Arup contemplating at the side of the 1:60 scale opera house model. Photo 36 Arup and his team had taken over the Sydney Opera House project since 1969.
│雪梨歌劇院│Sydney Opera House│
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Photo 37 Overview of the Sydney Opera House; this angle shows the unique design of Mr. Utzon.
│雪梨歌劇院│Sydney Opera House│
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土木工程概念設計 Conceptual Design Studio
5、 Case Review - The Success of the Sydney Opera House
5.1 Origin of Concept – The Public Demand A construction normally begins with responding to the public demand, and Sydney Opera House was no exception. Without the public demand, the construction is almost impossible to commence. However, the public demand changes through time and the changes of the society. Take the Sydney Opera House for example, people demanded an opera house in the 50s and the government answered to this demand hence a dream of an opera house was made possible. However, during the 14 years of construction, the society changed and people have been constantly receiving the stimulation of new technology; their demand to an opera house also continued to adjust and change. If when the Sydney Opera House was completed in 1973 and it was already unable to meet the need of the people of the 70s, would such a world renowned art temple that went through turmoil and great struggle be recognized as “architectural masterpiece of the century?” Here we see that a work of creativity and imagination is closely associated to the recognition and the need of the people. If an original, unprecedented work is unable to meet the need of the human being, there then is no value to such a creation. After all, the purpose of a construction is to bring about the convenience to people’s living; therefore the value of a construction resides in meeting the need of human being. Part of the success of the Sydney Opera House dwells in the constant demand of the public to an opera house since the beginning of the construction, therefore when the opera house was completed in 1973, people still recognized and approved of it. If considering the future, assume after 50 years when the technology and invention │雪梨歌劇院│Sydney Opera House│
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make people no longer need to go to an opera house for performances, this architectural master piece, the Sydney Opera House, may need to apply to a new social context and redefine its value. On that day, the Sydney Opera House may no longer be a place for live performances, but a museum, a theme dinning restaurant; or to be converted into a building for other functions. When we look at the value of an architecture, we must also include the public demand and even wider perspective to explore the future need of human being. “The satisfaction of the need determines the value of an architecture”. People’s needs change, the value of an architecture changes accordingly. Should we be keen enough to foresee the technology and architecture that would be needed for the future human being, the creation of the architecture would then be proactive. To constantly surpass the past in creating more cutting edge architectures or architectures that even cross the boundary of its time, the human demand is definitely an important factor that must not be overlooked. 5.2 Unique Style of the Sydney Opera House – Diversified Thinking The unique style of the Sydney Opera House was a great challenge to the architectural skills of its time. How did it so successfully win the international recognition and remains till this day the landmark building of Sidney? What is so special about this opera house that it stood the test of time? This masterpiece came from the design concept of Danish architect, Mr. Utzon. Who is he and what were the elements that affected his success? Thinking back in time when he submitted his design to the Sidney Opera House design contest, he was not a famous master of architecture design and was put on the international │雪梨歌劇院│Sydney Opera House│
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architecture stage with one draft of design. His success came from “dare to imagine”, “dare to challenge”, and “dare to move forward”. The traditional architecture of that time was unable to shake away the square structure for it was the general style, and was recognized by most of the professionals as the basic architecture formation that could be constructed. How much courage would it take to draw an architecture design that exceeded the architectural limitation? Utzon’s success was his courage to imagine, to challenge and to move forward that made his place in the history. As we ponder on his growth, Utzon’s father was a naval officer and he was in touch with many model ships since childhood, giving him the opportunities to be exposed to the structural design concept. During his education, his architectural concept gradually formed and refined as he followed different masters; however, the most profound influence came from his travelling experiences. Each country has its own architectural style and specialty that was passed on through the change of time. From the style and the structural design, the human civilization development could be observed. Through constant visiting different countries and different buildings, Utzon kept modifying his existing architectural perspectives, concepts and thinking patterns. He also had the chances to experience the cultural differences and different architectural needs in various countries. His contact with the architecture was diversified, hence his concept on the buildings would be not restricted within the traditional styles. It was such an unthinkable thing for the audience at the time when he came up with such an extraordinary appearance of a build. The shape of the building was so unique, so challenging yet so impossible to come true. However, without the courage to continue with it and the faith that conformed to the idea, how would such a dream come true that was seen as impossible at its time? │雪梨歌劇院│Sydney Opera House│
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In addition to the spectacular appearance, the building of the Sydney Opera House went through so many obstacles especially on the construction of the roof. Mr. Utzon came up with a roof design structure that was without geometrical definition, how did he find the way to build it through the association of an orange? How did his imagination help him solve the task at hand? Many things in life, be it a small object or a random movement, may become the key in solving problems. We should train ourselves to possess the keen observation and imagination. These we can do in our daily lives. Do not look down on any tiny event of daily lives; it may well be the guidance that would lead you to a whole new direction for thinking, and the key to find the solution to a difficult task.
│雪梨歌劇院│Sydney Opera House│
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Practice Part I : Use your brain
The building of the great Sydney Opera House was a result of combing many different talents. Try to utilize your imagination to find problems and to solve them. This practice expects you to “break through your usual thinking logic”, to break through your knowledge framework and the restriction to your professional capacity; that you could be bold and daring to imagine all kinds of possibilities and ways to solve problems. 1. When designing a building, what are the ‘questions’ that you should consider?
│雪梨歌劇院│Sydney Opera House│
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2. If you were Utzon, when you encountered problems in building the roof during the construction of the opera house, what methods would you have adopted in solving the problems?
3. If you were the Australian government, when you faced the funding shortage that prevented would you have done in solving the funding shortage problem?
│雪梨歌劇院│Sydney Opera House│
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4. In your opinion, what are the problems to the modern architecture? Please elaborate your imagination to solve the problems.
│雪梨歌劇院│Sydney Opera House│
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5. What abilities and qualities do you think an extraordinary architect should possess?
6. What are the trainings do you think an extraordinary architect should receive? Why?
│雪梨歌劇院│Sydney Opera House│
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Part II：Use your hand 1. Use your imagination to try and reform the Sydney Opera House roof, draw 5 to 10 sketches of the roof with your pen.
│雪梨歌劇院│Sydney Opera House│
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2. Use your imagination and re-construct or reform the campus library, including the appearance and the interiors, draw your concept below.
│雪梨歌劇院│Sydney Opera House│
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3. Imagine what the buildings would look like in the future world, draw sketches and give brief descriptions.
│雪梨歌劇院│Sydney Opera House│
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4. Imagine the architectural appearance of the future world, draw sketches and give brief descriptions.
│雪梨歌劇院│Sydney Opera House│
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