本文目录一览：
有什么关于悉尼歌剧院的资料吗?
我找了几个:
英文介绍性网站1:
英文网站原版搜索1:
- Along with the Harbour Bridge, the Sydney Opera House is the city's most recognized structure.
- On January 29, 1957 Jorn Utzon was declared the winning architect of the design competition out 233 worldwide entries.
- Construction began in March 1959.
- The tip of the tallest shell reaches 67.4m (222ft) above Sydney Harbour, which equates to half the height of the nearby Harbour Bridge (134m).
- The Sydney Opera House boasts 20,000 light fittings. Its gleaming white sails comprise 1,057,000 Swedish tiles.
- The magnificent site of the Opera House was originally Bennelong Point tram depot which opened in 1902. During the 1950s Sydney's trams were gradually phased out in favour of buses and the tram shed became redundant. It was demolished in 1958 to make way for the building of the Sydney Opera House.
- Uses 6225 square metres of glass and 645 kilometres of electric cable.
- Opened by Queen Elizabeth II on October 20, 1973.
- Over two million people attend performances here annually.
- Joern Utzon's design was chosen from 233 entries in the 1956 international competition.
- The Sydney Opera House was put on the State Heritage Register on December 3, 2003.
- The building occupies an area of 1.8 hectares whilst the roof is comprised of 2,914 pre-cast segments weighing in total some 26,700 tonnes.
- In 2001 the architect Jørn Utzon was called upon in the capacity of consultant to oversee the refurbishment of his building.
(以上为具体介绍,以及外形介绍)
原版2:
夜景:
Sydney Opera House at Night
The Sydney Opera House has about 1000 rooms, including five theatres, five rehearsal studios, two main halls, four restaurants, six bars and numerous souvenir shops.
The roofs of the House are constructed of 1,056,000 glazed white granite tiles, imported from Sweden. Despite their self-cleaning nature, they are still subject to periodic maintenance and replacement. The House interior is composed of pink granite mined from Tarana, NSW and wood and brush box plywood supplied from northern NSW.
The five constituent theatres of the Sydney Opera House are the Concert Hall (with a seating capacity of 2,679), the Opera Theatre (1,547 seats), the Drama Theatre (544 seats), the Playhouse (398 seats) and the Studio Theatre (364 seats). The smallest building is home to the Bennelong Restraunt.
The Concert Hall contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world with over 10,000 pipes.
The theatres are housed in a series of large shells, conceived by dissecting a hemisphere. The Concert Hall and Opera Theatre are contained in the largest shells, and the other theatres are located on the sides of the shells. Large free public performances have also often been staged in front of the Monumental Steps that lead up to the base of the main sets of shells. A much smaller set of shells set to one side of the Monumental steps houses one of the formal dining restaurants.
历史:
History
The Sydney Opera House can be said to have had its beginning during the late 1940s in the endeavours of Eugene Goossens, the Director of the NSW State Conservatorium of Music at the time, who lobbied to have a suitable venue for large theatrical productions built. At the time, the normal venue for such productions was the Sydney Town Hall, but this venue was simply not large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house.
It was also Goossens who insisted that Bennelong Point be the site for the Opera House. Cahill had wanted it to be on or near the Wynyard Railway Station, located in the north-western Sydney CBD.
The competition that Cahill organised received 233 entries. The basic design that was finally accepted in 1955 was submitted by Jørn Utzon, a Danish architect. Utzon arrived in Sydney in 1957 to help supervise the project.
The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958, and formal construction of the Opera House began in March, 1959. The project was built in three stages. Stage I (1959–1963) consisted of building the upper podium. Stage II (1963–1967) saw the construction of the outer shells. Stage III consisted of the interior design and construction (1967–73).
Stage I was started on December 5, 1958, and work commenced on the podium on May 5, 1959 by the firm of Civil Civic. The government had pushed for work to begin so early because they were afraid funding, or public opinion, might turn against them. However major structural issues still plagued the design (most notably the sails, which were still parabolic at the time).
By January 23, 1961, work was running 47 weeks behind, mainly due to unexpected difficulties (wet weather, unexpected difficulty diverting stormwater, construction beginning before proper engineering drawings had been prepared, changes of original contract documents). Work on the podium was finally completed on August 31, 1962.
Stage II, the shells were originally designed as a series of parabolas, however engineers Ove Arup and partners had not been able to find an acceptable solution to constructing them. In mid 1961 Utzon handed the engineers his solution to the problem, the shells all being created as ribs from a sphere of the same radius. This not only satisfied the engineers, and cut down the project time drastically from what it could have been (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually in mid-air), but also created the wonderful shapes so instantly recognisable today. Ove Arup and partners supervised the construction of the shells, estimating on April 6, 1962 that it would be completed between August 1964 and March 1965. By the end of 1965, the estimated finish for stage II was July 1967.
Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Askin government declared that the project was now under the jurisdiction of the Ministry of Public Works. In October 1965, Utzon gave the Minister for Public Works, Davis Hughes, a schedule setting out the completion dates of parts of his work for stage III. Significantly, Hughes withheld permission for the construction of plywood prototypes for the interiors (Utzon was at this time working closely with Ralph Symonds, an inventive and progressive manufacturer of plywood, based in Sydney). This eventually forced Utzon to leave the project on February 28, 1966. He said that Hughes' refusal to pay Utzon any fees and the lack of collaboration caused his resignation, and later famously described the situation as "Malice in Blunderland". In March 1966, Hughes offered him a reduced role as 'design architect', under a panel of executive architects, without any supervisory powers over the House's construction but Utzon rejected this.
The cost of the project, even in October of that year, was still only $22.9 million, less than a quarter of the final cost.
参考网站:
悉尼歌剧院的创造意义
悉尼歌剧院，Sydney Opera House ，位于澳大利亚新南威尔士州的首府悉尼市贝尼朗岬角。这座综合性的艺术中心，在现代建筑史上被认为是巨型雕塑式的典型作品，也是澳大利亚的象征性标志，被联合国教科文组织列入《世界文化遗产名录》。
不仅是悉尼艺术文化的殿堂，更是悉尼的灵魂，是公认的20世纪世界十大奇迹之一，是悉尼最容易被认出的建筑。悉尼歌剧院坐落在悉尼港的便利朗角（Bennelong Point），其特有的帆造型，加上作为背景的悉尼港湾大桥，与周围景物相映成趣。每天都有数以千计的游客前来观赏这座建筑。
悉尼歌剧院设备完善，使用效果优良，是一座成功的音乐、戏剧演出建筑。那些濒临水面的巨大的白色壳片群，象是海上的船帆，又如一簇簇盛开的花朵，在蓝天、碧海、绿树的衬映下，婀娜多姿，轻盈皎洁。这座建筑已被视为世界的经典建筑载入史册。
是世界著名的表演艺术中心、悉尼市的标志性建筑。该剧院设计者为丹麦设计师约恩·乌松，建设工作从1959开始，1973年大剧院正式落成。在2007年6月28日这栋建筑被联合国教科文组织评为世界文化遗产。
扩展资料
设计建造之曲折
悉尼歌剧院是从50年代开始构思兴建，1955年起公开搜集世界各地的设计作品，至1956年共有32个国家233个作品参选，后来丹麦建筑师约恩·伍重的设计屏雀中选，约恩·伍重的设计灵感来自于切开的橙子。
该项目共耗时14年、斥资1200万澳大利亚元完成建造，为了筹措经费，除了募集基金外，澳大利亚政府还曾于1959年发行悉尼歌剧院彩券。
在建造过程中，因为改组后的澳大利亚新政府与约恩·伍重失和，使得这位建筑师愤而于1966年离开澳大利亚，从此再未踏上澳大利亚土地，连自己的经典之作都无法亲眼目睹。
之后的工作由澳大利亚建筑师群合力完成，包括Peter Hall、Lionel Todd与David Littlemore等三位，悉尼歌剧院最后在公元1973年10月20日正式开幕。
参考资料来源：百度百科——悉尼歌剧院
关于悉尼歌剧院
悉尼歌剧院是世上最著名的建筑之一。虽然这项建筑之开放了三十年，但是它是被公认的世上最与众不同的现代建筑。悉尼歌剧院是澳大利亚的象征，就像金字塔是埃及的象征一样。
建造歌剧院用了6 625平方米的玻璃和645千米的电缆线。它有1 000间房间。它长185米，宽20米。歌剧院楼顶的部分大约重15吨。在楼顶上，有1百万块砖。每年它能接待旅游团20万人。
但你知道歌剧院的设计者是丹麦著名的建筑师——约翰•伍松吗？在50年代，澳大利亚政府申请并建立了悉尼歌剧院工程基金，并举行了一个歌剧院设计比赛。伍松用了数年时间反复修改设计图纸并在1961年解决了如何搭建出特色来——帆状屋顶。这个别树一帜的屋顶造成了轰动。1966年情况变得危急，伍松辞去了任务。但是在1973年，这项建筑还是被其它建筑师所完工。1973年10月20日，歌剧院由伊丽莎白女王宣布对外开放。
歌剧院延伸到海港中央。从一艘渡轮或一架飞机上看，歌剧院雄伟的空中轮廓线，碧蓝碧蓝的水和悉尼的海港大桥，是那么漂亮。
悉尼歌剧院的建筑特点和功能
特点：
悉尼歌剧院坐落在悉尼港湾，三面临水，环境开阔，以特色的建筑设计闻名于世，它的外形像三个三角形翘首于海边，屋顶是白色的形状犹如贝壳，因而有“翘首遐观的恬静修女”之美称。
建在巨型花岗岩石基座上，各由4块巍峨的大壳顶组成。
功能：
外观为三组巨大的壳片，耸立在南北长186米、东西最宽处为97米的现浇钢筋混凝土结构的基座上。
第一组壳片在地段西侧，四对壳片成串排列，三对朝北，一对朝南，内部是大音乐厅。
第二组在地段东侧，与第一组大致平行，形式相同而规模略歌剧厅。
第三组在它们的西南方，规模最小，由两对壳片组成，里面是餐厅。
其他房间都巧妙地布置在基座内。
扩展资料：
据设计者晚年时说，当年的创意其实是来源于橙子，正是那些剥去了一半皮的橙子启发了他。
这一创意来源也由此刻成小型的模型放在悉尼歌剧院前，供游人们观赏这一平凡事物所引起的伟大构想。
参考资料：百度百科 悉尼歌剧院
巧夺天工在悉尼歌剧院这篇文章里是什么意思
1 巧夺天工：
夺：胜过.巧：精巧.本义：精巧的人工胜过天然.形容技艺极其精巧.专指人工的精巧
胜过天然制成,形容技艺十分高超.人工胜于天然.
2这篇文章里是是说“悉尼歌剧院”建造的精巧,无以伦比.人工建造胜过天然美景. 有“翘首遐观的恬静修女”之美称.在现代建筑史上被认为是巨型雕塑式的典型作品,也是澳大利亚的象征性标志 .
悉尼歌剧院建造时遇到什么困难
阶段一：
于1958年12 月5日开始，建筑公司为Civil Civic，奥雅纳工程顾问公司的工程师们则负责监督和指导。政府出于对资金和公众舆论的担心力求工程尽快开展。然而约恩·伍重的最终设计却仍未完成。 1961年1月23日，工程已比预计延后了47天，这主要是因为遇到了一些没有预料到的困难（包括天气，没有预料到的雨水改道，工程在正确的结构图准备好之前就已开始，合同文件的改变）。矮墙的工程最终于1962年8月31日完成。迫使工程尽快开展的行为最终导致后来产生了一些显而易见的问题和这样一个事实：矮墙的强度并不能够支撑它的屋顶结构，因此必须要重建。
阶段二：
在最初的歌剧院设计竞赛中，这些壳并没有几何学上的定义，但在设计过程的开始阶段，这些“壳” 被定义为由一系列的混凝土构件组成的排骨支撑起来的抛物线。然而，奥雅纳工程顾问公司的工程师们找不到一个建造这些“壳”的方法。使用原地浇筑的混凝土来建造的计划由于造价高昂而遭到了否决，因为屋顶的结构不同，这样就要求有不同的模具，最终导致造价高昂。
从1957年到1963年，在最后找到一个经济上可以接受的解决办法之前，设计队伍反复尝试了12种不同的建造“壳”的方法（包括抛物线结构，圆形肋骨和椭圆体）。在“壳”的设计工作是最早利用电脑进行构造分析来完成构造分析的工作之一。在1961年中期，设计队伍找到了一个解决办法 ：所有的“壳”都由球体创建而来。该办法可以使用那个一个共同的模具浇注出不同长度的圆拱，然后将若干有着相似长度的圆拱段放在一起形成一个球形的剖面。究竟谁是这个解决办法的发明者成了一些争论的主题。
“壳”由Hornibrook Group Pty Ltd建造，他负责建造了第三阶段。Hornibrook在工厂中制成了2400件预制肋骨和4000件屋顶面板，着加快了工程的进度。这个解决办法的成就在于利用预制混凝土构建从而避免了建造昂贵的模具（他同样允许让屋顶面板在地上就大片的预先建造组合好，而不是在高处一个一个的拼接上）。Ove Arup和合作方的工地工程师惊讶于这些“壳”在完工前使用了创新的调节型弯曲钢铁桁构梁来支撑不同的屋顶。在1962年4月6日，悉尼歌剧院被估计将于1964年8月到1965年3月之间完成。
阶段三：内部的设计和装潢
悉尼歌剧院夜景
从Utzon将他的工作室于1963年2月搬至悉尼后开始。然而，政府在1965年发生了改变，新的Robert Askin政府宣布悉尼歌剧院建造计划将由公共工程部管辖。这最终导致约恩·伍重于1966年辞职。
到目前为止，甚至一直到1966年，悉尼歌剧院建造计划的花费仍然只有2290万元，少于最终预算1亿零200万的四分之一。然而在第三阶段，设计上将会有很大的支出。约恩·伍重辞职的时候，第二阶段的工程正接近完工。Peter Hall在他辞职后取代了他的位置，Peter Hall对内部的设计和装潢负最大的责任。一些其他的人也在同年接受任命，取代约恩·伍重的位置。
在Utzon辞职之后，声学顾问Lothar Cremer，向SOHEC证实Utzon最初的设计仅允许在大厅中安防2000个座位，并进一步指出如果将座位加至300个的话将会对声音产生灾难性的后果。Peter Jones在书中提到，舞台设计Martin Carr曾评论道“形状，舞台的高度和宽度，为艺术家们提供的物质设施，更衣室的位置，门和电梯的宽度，以及照明设施的位置”。