Journal and Proceedings of
The Royal Society of New South Wales
Volume 106 Parts 1 and 2: Opera House Issue [Published 21st November 1973]
CONTENTS
| AUTHORS & TITLES | PAGES |
| Preface | 1 |
| Hoare, H.R., The Contractor and some Aspects of Stage III | 3-17 |
| Lewis, Michael, Roof Cladding of the Opera House | 18-32 |
| Jordan, V.L., Acoustical Design Considerations of the Sydney Opera House | 33-53 |
| Hall, Peter, The Design of the Concert Hall of the Sydney Opera House | 54-69 |
| Sharp, Ronald, The Grand Organ in the Sydney Opera House | 70-80 |
Vol. 106 parts 1-2 p. 1
PREFACE
Nearly twenty years ago, during the Premiership of the late Mr. J.J. Cahill, the Government of New South Wales decided that Sydney, in keeping with other major cities of the world, ought to have a music centre. The location chosen was Bennelong Point, an area in itself of historical significance and within sight of Sydney's famous Harbour Bridge. The resulting activities that led to the design and construction of this centre, the Sydney Opera House, are now part of Sydney's history. Most of us will forget the frustrations and difficulties associated with the project as we stand in admiration of the completed work, a monument to the achievements of modem technology. Along with the Harbour Bridge, it will remain a continuing source of pride for Australia, and especially the people of Sydney.
On the occasion of the opening of the Opera House by Her Majesty Queen Elizabeth II, the Royal Society of New South Wales is proud to publish this special issue of the Journal and Proceedings to commemorate the event. The issue is devoted to the contributions by those people responsible for the various aspects of the Sydney Opera House design and development.
[ In recognition of the continuing importance of the Opera House to Sydney, not only is the Abstract of each contribution to the Special Issue reproduced here, but each paper is also reproduced in full: follow the links at the end of each Abstract. ]Vol 106 pts 1-2, pp. 2-17
The Sydney Opera House The Contractor and Some Aspects of Stage III
H. R. Hoare, F.I.O.B., F.A.I.B.,
Director, Wood Hall Ltd., Project Manager
Abstract. The article briefly recounts the history of the area known as Bennelong Point, and then describes in some detail the Sydney Opera House project from the time of the architectural competition when the design of the now famous shells was chosen, to its completion as a complex catering for many forms of arts and sciences. The paper deals with the various activities of the main contractor's site organization, the difficulties of design and construction posed by this unique building, and the resultant solutions gained by the teamwork of the architect, consultant and builder.
| Full text | Return to Top |
Vol 106 pts 1-2, pp. 18-32
Roof Cladding of the Sydney Opera House
Michael Lewis, B.Sc., F.I.E. (Aust.),
Senior Partner, Ove Arup & Partners
Abstract – The tiled roof cladding of the Sydney Opera House is probably the most important visual element of the building. It has been designed and constructed within the constraints of a strong geometric discipline which dominates the form of the Opera House structure. The paper outlines the design development and details, methods of construction used, and the techniques which were evolved to construct these elements by employing factory production methods to take advantage of the repetitive geometric forms which make up the roof structure.
| Full text | Return to Top |
Vol 106 pts 1-2, pp. 33-53
Acoustical Design Considerations of the Sydney Opera House
V. L. Jordan
Abstract – The Opera House, which is now completed (inauguration October, 1973) has a unique history of construction. While actual construction started in 1959, a subsequent change in administration led to a complete reprogramming and redesign of the interior spaces including the acoustical designs. The large halls were tested with the aid of models during both periods. The results of the model tests are compared with the results obtained from tests of the completed halls. Other features of the designs such as the smaller halls and sound isolation are reported too.
| Full text | Return to Top |
Vol 106 pts 1-2, pp. 54-69
The Design of the Concert Hall of the Sydney Opera House
Peter Hall B.A., B.Arch., F.R.A.I.A.
Design Partner, Hall, Todd & Associates
Abstract – This paper deals with the Concert Hall only. It sets out initially the most important design criteria influencing the architecture of rooms for music, then deals with the Client Brief and its resolution in terms of volume, audience arrangement, ceiling design and choice of materials. The room is designed to seat 2,690 people with good seating and viewing conditions, to accommodate a large orchestra and choir and to have a reverberation time in the middle frequencies of the order of two seconds. In addition it is designed to satisfy the subjective criteria of musical quality. It describes the solutions chosen to achieve these ends. The hall embodies the attributes currently recognized as desirable in large concert halls.
| Full text | Return to Top |
Vol 106 pts 1-2, pp. 70-80
The Grand Organ in the Sydney Opera House
Ronald Sharp, Pipe Organ Builder
Abstract – The building of the Opera House Organ is a milestone in the world of music. The Concert Hall has provided a unique opportunity for the installation of what will be the world's largest mechanical action pipe organ in the best position possible, acoustically and visually.
The organ specification includes all schools of organ building that are considered to have aesthetic and historical validity so as to be able to demonstrate these characteristics to the people of Sydney. Every family of stops is represented, but no stop is redundant. The organ will not only be able to interpret these various schools but will have an overall character and musical unity if its own.
| Full text | Return to Top |