PARIS
BUDAPEST
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SUMMARY
Introduction I. The influence of an Opera An influence on the scale of the city An artistic influence A politic influence
II. From the street to the auditorium
III. The auditorium between art and technique Acoustic The decor changes
Conclusion
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Thanks to Zsuzsanna Kiss for accompanying me in my work
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Introduction
After looking for a building to analyse while walking through the city of Budapest, I discovered that the landscape of the city where I lived, was largely shaped by the architect Miklos Ybl. He was born on April 6, 1814 in Székesfehérvár and died on January 22, 1891 in Budapest, he is one of the greatest European architects of the mid-nineteenth century and the most influential Hungarian architect of his period. While browsing his monograph, I discovered that this realization of the best known was the Budapest Opera. We will therefore focus mainly on the Budapest Opera House, then compare it with that of Paris built at the same time. Each stage of the research will also be compared to a contemporary example, because today we still build operas. At first, we will see the different types of radiation of an opera, urban, artistic and political. Then, we will focus on the main objective of an opera, that of taking spectators from the street to the auditorium. Finally, we will see how the auditorium addresses technical challenges in a building that looks more like a work of art. Western opera was born in Italy in Florence in the seventeenth century. The origins of Hungarian opera date back to the late eighteenth century, with the rise of imported opera in German or Italian style. Pozsony produced the first musical theater experiences in the country, although the work of Gáspár Pasha and József Chudy; It was Prince Pikkó and Jutka Perzsi of 1793 which is generally considered as the first Hungarian opera. At this time of the increasing popularity of opera in Europe, all major cities are equipped with an opera. Budapest, like all major cities in Europe will be equipped with an Opera, whose construction will begin in 1875 and end in 1884. It is built according to the plans of Miklos Ybl in a neo-renaissance style.
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I. The influences of an Opera An influence on the scale of the city The Budapest Opera House is a symbol of the city. It is located on Andrassy Street, one of the most important changes to the landscape of Budapest in the 19th century. Other potential sites were also major avenues of the city. Given the price and the popularity of this kind of equipment, the state seeks to build a remarkable building, in a remarkable place, to show musicians, composers, architects, painters, sculptors. We find the same type of implantation at the Opera Garnier. The Opera of Budapest is located perpendicular to a symbolic avenue that ends on the Heroes' Square. In Paris, it is the Opera itself that closes a breakthrough that was made especially for him: l’Avenue de l'Opera. Also a second avenue perpendicular to him is made for the Opera : Boulevard des Italiens. Even if the implantation of the Garnier Palace gives it more importance, the Budapest’s Opera is very remarkable when you walk along Andrassy Street. Today, the Budapest Opera House is present in most tourist circuits. It is a symbol for its architecture, which can be visited during the day, as well as for its shows as it is one of the best auditorium in Europe.
Opéra of Lyon (FR) Jean Nouvel, a French architect, was interested in this influence of the Opera in the city. His project was the transformation of the former theater of Lyon (FR) into an Opera. As the old buildings were not big enough, he placed the entire technical part underground and added a half cylinder to the old buildings. What is interesting is that this half cylinder is illuminated in red when there is a show. The influence of the opera is then transcribed by the light. The whole city can know when there is a show going on.
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Before
After
Opera of Budapest
Opera of Paris
source : Google Earth
source : www.ykersale.com 7
An artistic influence
The main facade of an opera can be compared to a kind of billboard of other times. Indeed, Miklos Ybl has to call on local artists to make all the sets of the Opera. This is one of the first ways the building shines the artists or rather the craftsmen. The majority of interior decorations are in marbles imported from Italy. All these artists, on the facade and inside the building sculpt the decorations. Nowadays, we tend not to look at them in detail since we are surrounded by images all the time. At a time without television and without smartphone, the decorations of a building was really very attractive for the eyes. This is why both inside and outside the building, the architect commands the status of great Hungarian and international composers. It is a way to advertise Hungarian composers but also to show a certain openness to the international.
A politic influence The construction of a national opera is commissioned by the state. The national theater of the city no longer meets the need, the Hungarian Prime Minister decides to convene in 1872 the director of the Theater to think about the construction of a national opera. The reunification of the city of Buda and Pest also created the need for equipment. On March 12, 1973, the Prime Minister asked the National Council of Public Works to evaluate the request for the construction of a new opera house. A contest won by Miklos Yblqui launches seven of the eight votes. The building permit will be validated on August 28, 1875. Frigyes Podmaniczky (vice president of the National Council of Public Works ) will then impose the call for the offer that all craftsmen be Hungarians, to make the economy of the country work. Having an opera in a city is also a way to shine in the world. We can see on the map opposite where are the operas in Europe. It may be noted that the city of Budapest, on a map representing only operas, has the same importance as a city like Paris or London. The political action of building an opera has an influence on the hierarchy of cities in Europe. The acoustic quality of the auditoriums also has an influence in the ranking of operas in the world, Budapest is a better one. 8
Wolfgang Amadeus Mozart (AUT)
Richard Wagner (DEU) Georges Bizet (FR)
Claudio Monteverdi (IT)
Presentation / Years +450 +300 +200 +105 +80
sources : http://fomalhaut.over-blog.org
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II. From the street to the auditorium
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1
The courtyard
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The lobby
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The stairs room
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The distributions
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Opéra of Budapest
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Opéra of Paris
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Opéra of Lyon (FR)
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After the scale of the city, the architect is interested in the scale of the viewer. Indeed, in most Opera, before the show, the path from the street to the auditorium is already very impressive. At the Budapest Opera House, the facade has a raised courtyard a few steps from which you can get directly by car. At a time when most of the opera audience is being dropped off by a driver, this is of practical use, especially in case of rain. This courtyard also creates an indoor / outdoor space, and projects the viewer into the Opera, while he is still in the street. This desire to place the building at a height other than that of the street is also visible at the Paris Opera, whose entrance is a dozen steps tall. This difference in level, which might seem harmless, reveals in fact perfectly the intentions of creating a totally disconnected universe of the city, a universe of spectacle.
After having pushed the doors of the Opera, the spectator arrives in an entrance hall whose height under ceiling is generally the same as that of the courtyard. There is no significant change of scale, the internal transition outside is rather fluid. Inside, the entrance to the locker, but also many decorations. In a logic of continuity with the decorations of the exterior facade, the connection between European music and Hungarian music is still in the spotlight. There are portraits of four composers Johann Nepomuk Hummel (An Austrian pianist), Mihály Mosonyi (Hungarian composer), Ferenc Doppler (Austro-Hungarian composer), Károly Goldmark (Austro-Hungarian composer). Upon entry into the building, it is therefore a musical catalog that is offered to the viewer, but also once again a demonstration of craftsmanship. Indeed, many artists like Béla Seenger for all the marbles coming from Italy, or Luigi Depel for the black and white mosaics of the floor. There are also mythological references such as decorations depicting Appolon singing at the Olympus painted by Bertalan Székely. At the Opera Garnier, the lobby follows the same logic as that of Budapest. It also has a normal human scale, and decorations representing musicians. It can be noted that the entrance hall of the Opera Garnier is much less colorful than that of Budapest. Another level difference further enriches the sequence.
Opéra of Budapest
Opéra of Paris
Opéra of Budapest
Opéra of Paris
source : wikipedia.org
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After showing your tickets or going through the entrance reserved for subscribers, the space changes scale. We are first under the grand staircase at the locker and then the ceiling height is multiplied by two which gives the viewer a sense of dilatation compared to the lobby. On the walls, it’s a real theatrical setting. It consists of arches that give depth, marbles that gives color, sculptures and painting reminiscent of the world of music. The ceiling is glazed which accentuates the verticality of the room, a chandelier illuminates the whole. This ceiling is decorated Bertalan SzÊkely by and represents the power of music. This masterful space welcomes the grand staircase. Budapest Opera is the second level change after the courtyard. Technically, it allows the spectators to arrive at the main level of the auditorium. For spectators, it’s an opportunity to show off. Indeed, the steps being very low, the rise of the staircase takes much more time than for a classic staircase. The opera is a place of the privileged classes of the time, it is very chic to climb the stairs to the arm of his wife, dressed in his finest clothes. The staircase has four stolen, which is quite interesting since the viewer is first under, then on the stairs. Before the show, it is the spectators themselves who participate in a social show, in an exceptional setting, lit by the gas lights of the time. At the Opera Garnier, such a setting is also set up. The most original is the outline of the staircase which is particularly remarkable for its curved steps giving it an incredible fluidity. We can note the incredible height under ceiling of the nave of the grand staircase of the Opera Garnier, or the height under ceiling is multiplied by five, which accentuates the effect of dilation. The difference with the Budapest opera is that the staircase of Paris has only two flights, which is a certain originality of Ybl Myklos.
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Opera of Budapest
source : wikipedia.org
Opera of Paris
source : wikipedia.org
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The distribution of the theater is a reflection of a real division between the different spectators. The seats closest to the stage were not the most expensive at the time. Indeed, the most expensive were those balconies that could rent the year. The cheapest are on the top floors of the balconies. The corridors distributing the different parts of the auditorium are also very low ceiling. This is the last compression, the strongest, before entering the big theater. We imagine then discover the gigantic volume of the theater, after these small felted corridors.
Distrubutions of the nomal places
Distrubutions of the balconies
OpĂŠra of Lyon (FR) We can compare the sequence of classical operas to a contemporary opera such as Lyon. It can be observed that thanks to technical progress, the different rooms can be superimposed. Nevertheless, the same sequence of compression and expansion are still present from the street to the entrance. It is interesting to see how the architect uses the space below the suspended auditorium to create the main event of the lobby, while remaining at the same level as the street, which gives an impression of fluidity . Another interesting point of comparison is the use of escalators instead of the big stairs that have been seen in Budapest and Paris. Despite all these changes, we note that the volume of the theater remains about the same, for acoustic reasons. The all-black lobby is used to take the viewer to another world like the rich scenery of classic operas. However, we can find it a pity that the architect does not showcase any artists in his buildings, whereas all the classic operas showcase sculptors, painters, musicians ...
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We find this same division / compression at the Paris Opera, but the most interesting is at the Opera de Lyon. Indeed, the architect plays again with the codes of classical operas. This distribution is a metaphor for a violin case, and is the last step before arriving in the large auditorium with much larger dimensions.
Distrubutions of the balconies
Distrubutions of the upper balconies
source : http://www.impressionsdanse.com
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III. The auditorium, on the technical side Acoustic Acoustics is surely one of the most important points when building an opera. We must manage the propagation of sound, a vibration of the air, which will bounce off the walls like billiards. During a show, the singers don’t have microphones, the room must be drawn in such a way that the sound must propagate properly. Architects try to don’t have too much reflection, which could create an unpleasant echo, or too much absorption, which will not carry the singers' voices enough. We therefore recommend an echo of 1.8 to 2 against 0.8 for the theater and 8 to 9 for a church. The operas are the most complex to conceive on acoustic since it is necessary to manage the presence of the orchestra and the singers at the same time. Another factor to consider is the presence of the public. Indeed we must be able to calculate the acoustics a full room, for the evening of show, but also for the days of rehearsal with an empty room. It is very difficult to identify the elements of the Budapest opera that make it one of the best cinemas in the world. Acoustics is a complex science and everything that is present in the room makes its acoustics (moldings, seats, public). It is a remarkable work for acousticians of this time, and even today, we are inspired by the rooms of the past to create new ones.
source : http://www.citysoundproofing.com
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The decor changes An opera is a complete show. There are lights, costumes and especially sets. Architects and engineers must then work on solutions to be able to change sets quickly. The solution ( still used today with modern techniques ) is to create clearance spaces above and below the stage to be able to place the unused sets. In Budapest, to go up and down the sets, a very innovative system for the time was designed: a hydraulic system. This system allows to go up and down scenery elements to be able to change the mood during the show. In Paris, the system is less modern. Indeed, for an opera built at the same time, the Opera Garnier is equipped with traditional pulley system, which required a lot of man to maneuver. At the time, it was sailors who didn’t have a job who maneuvered all these ropes. Budapest Opera was then one of the most sophisticated in the world. Another difference that can be noticed between Budapest and Paris is the integration of all this machinery in the building. In Budapest Ybl Miklos create a structure to cover the auditorium and the machineries. This allows him to protect the auditorium dome from the weather and to have a more uniform building. In Paris, Garnier divides the auditorium and the machineries into two distinct parts. Today, the problem of the change of sets is still at the center of the project during the construction of an opera. At OpÊra Bastille in Paris built in 1989, there is room to store the sets up, down, and behind the stage. The sets are then maneuvered by mobile electric trays to be brought to the stage. It is impressive to compare the room volume, the only part visible by the spectators, to that of the backstage.
Paris
Budapest pulley system
pulley system
auditorium
hydraulic system
pulley system 19
Conclusion The analysis of an opera for a student of architecture is always interesting since we are still building operas today. I also realized the importance of architecture for the promotion of artists of the time. We can then wonder if today architecture would not be too far from the artists. We can also notice that behind the multitudes of decorations are hiding processes of compressions and dilations rather basic, which can be useful when designing a more contemporary building, to create an effect of monumentality. Finally, we can only admire the acoustic and technical work of such a building, which is hard to match today. Having discovered the opera world during this research, I decided to go to a show. I immediately told myself that I would have to pay a very high price and that I could only go once, but no. Today, operas are heavily subsidized by the state which makes a lot of effort to make it accessible to all. The first places in Budapest start at â‚Ź 2 (600ft). It is the very classical architecture of these places that makes them often inaccessible to all, despite their attractive prices. The challenge for the contemporary architect is to build an opera that mixes classical culture and openness to the outside world. In parallel to the most developed subject in this research, we can then wonder what kind of link to the street develops a contemporary opera to make it more accessible. One answer among others is at the Oslo Opera House.
source : www.archdaily.com
Bibliography
Official website of the Opera of Budapest http://www.opera.hu/ Official website of the Opera of Paris https://www.operadeparis.fr/ Wikipedia - Hungarian State Opera House https://hu.wikipedia.org/wiki/Magyar_%C3%81llami_Operah%C3%A1z Wikipedia - Opera Garnier https://fr.wikipedia.org/wiki/Op%C3%A9ra_Garnier AMC official website ttps://www.amc-archi.com History of Opera https://www.musicologie.org Google map https://www.google.it/maps Touristic website https://www.vanupied.com