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Sydney Opera House

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by

Catherine Tran

on 25 April 2015

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Transcript of Sydney Opera House

Stage II: The Roof
In the early design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs
From 1957 to 1963, the design team went through at least 12 iterations of the form for the shells
Using a computer, the pins in the arches were surveyed at the end of each day and the information was entered into the computer so the next arch could be properly placed the next day
In the mid-1961, the design team found a solution: the shells being created from sections of spheres
The design of the roof was tested on scale models in wind tunnels at Southampton University which later can withstand very high winds,which helped in the design of the roof tiles and their fixtures
The shells were constructed by Hornibrook who manufactured 2400 precast ribs and 4000 roof panels
W5:Who
The Sydney Opera House was designed by Danish architect, Jorn Utzon. He won
the competition to design the Sydney Opera
House at age 38 in 1957. His design was
one of the 233 designs from 32 countries.
W5: When
Construction of the Sydney Opera House began March 1,1959
Completed in 1973
Opened October 20,1973
Materials
The Sydney Opera House Is made out of steel,concrete,laminated glass and ceramic materials.
The glass is actrully two pieces of glass with a sheet of plastic in between
The roof is made out of fungus ceramic tiles
Steel,tendon and epoxy resin hold the precast concrete ribs
Function
The Sydney Opera House is a multi-venue performing arts centre and concert hall. It was built because there was a demand for a bigger theatrical space in Sydney.
Form
Built on a peninsula
Expressionist design
Large precast concrete shells, composed of sections of a sphere of 75.2 meters radius, forming the roof of the structure
Covers 1.8 hectares of land and is 183m long ,120m wide and 67m high
Roof structure is precast concrete panels supported by precast concrete ribs
Although looks uniform white from afar, it actually has a subtle chevron pattern composed of 1,056,006 tiles in two
colours; glossy white and matte cream,
manufactured by the Swedish company;
Hoganas AB
Glass curtain walls of the foyer spaces
Sydney Opera House
Design
Built on a peninsula
Expressionist design
Precast large concrete shells, each composed of sections of a sphere of 75.2 meters radius , forming the roofs of the structure.
Concrete frame and precast concrete ribbed roof
Supported by 588 concrete piers 25m below sea level
Three stages: Stage I; Building the upper podium
Stage II; Building the outer shells (the roof)
Stage III; Interior design and construction
Stage I; The Podium
Because the final design was not completed,major structural issues still remained
By January 23,1961 they were behind by 41 weeks mainly because of unexpected difficulties
The podium was completed in February 1963 but later had to be rebuilt because the forced early start led to the podium columns not strong enough to support the roof
W5: Where
Located at Bennelong Point in Sydney, New South Wales, Australia
W5: How
It costs $102 million to build the Sydney Opera House
It was under construction for 14 years
There are 5,738 seats in total
It is 42 years old
Stage III: The Interior
Quick Facts:
When work started in 1959,there was an employment of 10,000 people.
15,500 lightbulbs are changed every year at the Opera House
They hosts 3,000 events each year
Each year 200,000 people take the guided tour of the building
This is the 2013 Vivid
Festival, which is a Opera House projection.
Stage III started with Utzon moving his entire office to Sydney in
February 1963
Eventually, Utzon resigned in 1966
The cost of the project so far was only $22.9 million, less than a quarter of the
final $102 million cost,but that increased steadily due to design cost
The second stage of construction was coming together when Utzon resigned. His
position was taken over by Peter Hall, who became largely responsible for the interior design.
Utzon's original acoustic design allowed for only 2000 seats in the main hall and that increasing the number of seats to 3000 would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticized practically everything

By:Catherine
Full transcript