Post about the Sydney Opera House. Sydney Opera House. Australia. Sydney Opera House - a masterpiece of a Danish architect

The extremely complex technical problems encountered by Utzon caused a delay in completing the design, taking the engineer three years and costing three million Australian dollars when the building was completed fifteen years after its creation, with a total cost of $102 million. Utzon abandoned the project because the sound quality inside the building did not match their external effect.

The building, which is structured as a series of ship insurance, contains several theater complexes, all organized along a central axis and an axial one. It has 000 rooms, most of which are dedicated to musicology, with room for over 000 people to sit comfortably.

It is located northeast of Sydney's Central Business District, on three sides of the harbor and surrounded by the Royal Botanic Gardens. The design consists of two different elements. The sturdy base and lid over it are easy to look at. The first is essentially the building itself and distributes all service areas: locker rooms, traffic jam areas, warehouses, offices and a library. It is designed as an exit for the upper deck, but also as a large high plateau, on the "service" of the show, and its upper level is completely horizontal, which is broken up only by the audience, which both rooms are for the opera and another concert and timely access through the stairs below.

This upper hall slopes towards the street and forms a staircase, the entire width. The entire base building is square and with dark stone gives a tectonic solid image. Additionally, holes appear to have been made in the building's facades, so that the same stone formations are curtains that rise up into the window.

Another part of the building, the cover consists of a series of triangle triangles and is open at the top, like a stability call. These bowls are in three public gathering areas: the opera house, concert hall and a restaurant. Each of the rooms is covered with four pairs of leaflets and a restaurant with two pairs.

The plastic approach meets these criteria: the ground is curved, white, bright, and represents the idea of ​​fragmentation as opposed to the idea of ​​nesting. These ideas, building the directors, were very clear from the presentation of the project for the competition until the end of the work. During the actual execution, Utzon found it very difficult to keep everyone involved in the process loyal to them. The need to work with forms that are calculated and can be built piecemeal, not just in form from gesture and imagination.

The Sydney Opera House has five theatres, five walk-in rooms, two auditoriums, four restaurants, six bars and numerous gift shops. Five theaters have the following facilities. Concert Hall's 679-seat concert hall, the magnificent Sydney Opera House organ, the largest mechanical organ in the world with 000 whistles. The 547-seat Opera House and Opera House is Australia's most important space opera house, also used by the Australian Ballet Company.

• Drama Theater and Drama Theater with 544 seats.
• Music hall with 398 seats.
• Studio theater with 364 seats.

Shell design work included one of the earliest uses of computers in structural analysis to understand complex system strength to get the shells. Thus, the spherical shape was finally used in the final design. The area around the simplest 3D curved surface will open up many design possibilities and will become the simplest geometric shape and will be easy to control. Range of curvature equal to all points.

Achieving this solution avoids the need for an expensive formwork structure that requires the use of prefabricated blocks. In addition to the shape of the beam structure with a system fan. The rays emanated from a point fan-shaped opening of the layout, in which the meridians were spheres, so that the line defined for all rays defined the same radius: 460 meters.

With production facilities in the same job, construction en route has been largely simplified since the shells are pieces of the same ball with a radius of about 75 meters. Working together with the ball not only by design, if not simplifying the calculations.

The structure of the building is made of reinforced concrete. The theater roofs are covered with 000 shiny white tiles and dull creams made in Sweden, but from a distance the tiles look just white. The interior of the building is made of pink granite from Tarana, wood and plywood from New South Wales.

Does your sound have to be perfectly engineered or will it not be your own sound? This is a question currently being asked by German acoustic experts in Sydney. The famous opera house should be brought to current state. Opera House in Sydney.

Century: acoustician Jürgen Reinhold at the reconstruction of the Bolshoi Theater in Moscow. Helsinki officially opens its new concert hall. Finally, in this opera of the World cultural heritage in Sydney you'll find the second to last ticket on special sale for the famous oyster. On the stage of Puccini's opera La Bohème. The acoustics are a nightmare for opera critics, unlike the world famous cover. The opera, as well as the nearby concert hall, has been a problem for years, explains Australian opera collaborator Chris Barling.

"If you play sound on stage here, there's up to two and a half seconds of reverberation, so orchestral musicians listen to themselves and their neighbors with a certain delay and don't know if they're playing on time." "I think the main problem is simple, this cover was designed for a small talk theater and that would be fine, but not for a world class house, which is what they really want to be," says Jürgen Reinhold.

Acoustics expert brings new sound system from Germany

Over the course of the year, Reinhold has been working on optimizing the acoustics. The degrees of freedom are small because the building is listed as a World Heritage building, the very last building in the world, world heritage, so we are relatively bound and cannot act as freely as we do. can sometimes do this.

When plans for the building, which Australians lovingly described as "open oysters", were presented to the public by Danish architect Jorn Utzon in the 1960s, the opera stage was to be integrated into the adjacent concert hall, much more Big hall for 700 spectators, According to a German engineer, the musicians of the symphony orchestra resisted.

The Sydney Symphony Orchestra, which is very strong and present here today, said we want the big hall to be one, and then the decision was made that the opera should be put in this small envelope, which is ultimately too small and today there are many compromises, and we're trying to change that.

Huge, flat, transparent glasses hang on the ceiling

Until now, the attempt to improve the sound at the Sydney Opera House has been a pure patchwork. The ceiling has huge, flat, transparent windows that can be moved up and down. Chris Barling from the Sydney Opera House team. We call them plastic discs or donuts, they are called "acoustic clouds", acoustic clouds, they help control the sound, and when you built this hall, you only thought that the sound was directed into the waiting room but not because the orchestral musicians must listen too.

Acoustically, Jürgen Reinhold knows. But he wants to make two rooms, an opera hall and a concert hall. He uses a technical finesse with which he can easily jump from the music hall of the chambers to the Rocarena. But if this is necessary, opera house directors must ask themselves. Is there anywhere else in the world that has such brilliant, acoustically interchangeable sound? This will be the end of individuality. After a year and a half, the people in charge give the technician time to acoustically lift the open Sydney oyster.

It is curious whether the Sydney Opera also has a sound-individual recognition value. But then it was time for the end. Next week, 44 years after opening, the Sydney Opera House, one of the most famous opera houses in the world, undergoes its first major renovation. All this will take six years. Cost, so at least the current estimate: about A$275 million.

It was an unknown architect with no experience

First of all, the acoustics need to be improved. Because the building with its striking silhouette is known all over the world, it is known in the professional world because of its sound. Visitors and musicians have been complaining about the acoustics for years. This has to do with the origin story. His model, a hypermodern box-like construction of various projectiles, did not seem to be in this world. The implementation was correspondingly complex.

In addition, the interior of the opera is radically superior. The building, which contained a total of five theaters, lasted four years and then continued for 14 years. Utzon himself had long ceased to exist, but returned to Europe, having separated from Australia in an angry dispute. He had never seen his masterpiece with his own eyes.

Today the facade is so impressive that the technical equipment inside is common. The house's technical director, Philby Lewis, says: All the technology we use today was already in use in the 1970s. It was made in the 60s and designed in the 1950s.

The Germans will pay for repairs

Acoustics is a huge problem today. Percussionist Mark Robinson complained: It was like you were in thick fog on a football field. You know, some of your comrades must be somewhere. The Opera House is one of the most popular tourist attractions.