Vale JORN UTZON! Sydney Opera House architect
November 30th 2008 08:28
Jorn Utzon, the architect of the Sydney Opera House, has died, at the age of 90. Utzon, who won the international competition to design the Sydney Opera House, faced huge obstacles while overseeing its construction, with local authorities making his life miserable and a torment, eventuating in his resignation from the project. Some, who worked on the project, said Utzon was difficult to work with, however brilliant.
Photo Credit: LINK: author: Adam.J.C.W.
GNU Free Documentation License
Utzon was blamed for huge cost overruns, (over 1,000 per cent), however, as some observers note, it was the N.S.W. Government that changed the goal posts, insisting that the foundations be laid BEFORE Utzon had completed the architectural drawings for the building and, in addition, changing the brief regarding the building's uses, during the design stages, therefore affecting its internal configuration, without consideration to the affect it would have on the various venues and their practical effectiveness.
The working relationship between Utzon and the government steadily deteriorated after that, resulting in his resignation.
This then allowed the local authorities from N.S.W. State Government to take more control, reduce Utzon's original concept to a lower grade version, hoping it would cost less money, but it costed much more. Everyone carped on about the cost overruns, blaming Utzon basically, even though it was the government's fault for changing the design use, midway through. The government had created a special State Opera House Lottery to pay for its construction, (which it did in its entirety), but that made no diffrence to the naysayers, as usual. The government also profoundly stuffed up the interior usage of space and thus reduced its effectiveness as a commercial and practical venue for various styles of performance.
The original design for the interior was changed, so what was to be the Opera stage and its auditorium, was swapped with the Concert Hall, the audience capacity increased, resulting in a nightmare for acoustics and functionality.
So bad were the acoustics, (it requires a different arrangement of acoustic design for orchestra than it does for voice) that the acoustic rings, or "jelly blubbers" as some referred to them, (well, I certainly did!) had to be hung over the concert stage to try and achieve a more effective reflection for the musicians, and the orchestra pit was described as dangerous to musician's auditory health.
Photo Credit: LINK author: Koika
GNU Free Documentation License
The problems did not end there, with the idiotic (read bureaucratic) idea of buying the stage technical gear too early, (years before completion of the building), such as the stage lighting boards, which were state of the art at the time of purchase, (electro-mechanical servo motored dimmers), but were quickly outdated by the new era of electronic boards, by the time they were installed.
I saw the old clanker opera lighting board in 1980, I was told how unreliable and inaccurate it was, and remember wondering why they were still in operation at the time. A lot of major staging equipment that had been designed to fit in with the original building plans, which were changed by the government mid way, much of it had to be scrapped, thrown away.
The stage area needed for a full sized classic opera is huge. The concept for stage design, for lyric sized theatres as formulated by German design, (in particular) is to allow three times the area backstage as one can see from the auditorium (audience).
Photo Credit: LINK: author: Bjarte Sorensen
GNU Free Documentation License
This allows for large set pieces to be 'struck' (removed to backstage) while the new set piece(s) are positioned onstage.
The Sydney Opera House's opera stage cannot achieve this, as it does not have anywhere near the backstage area needed to do the job properly, for a full scale large opera production.
The Drama Theatre, has practically no useful backstage area at all, thus its use is limited, as some touring productions require a larger, more practical stage area.
The Concert Hall has had major problems with its acoustics and orchestra pit.
And that is but some of the problems created, in large part, by a breakdown in communication, proper consideration being given to the design process, proper budgeting and time allowance for experimentation and the wisdom to keep the project based in practical reality.
Having said all that, most live performance stages do not achieve the perfect German design configuration, however, most large commercial stages in Europe and the USA, at least approximate it, some even exceed it.
I am out of touch with the latest stages, in Sydney for instance, however, after working in the Theatre Royal, (in 1983), in Sydney's skyscraper MLC building in the CBD, I can tell you some architects have no idea about stage configuration and the practicalities of backstage needs, the Theatre Royal is also a small disaster, as it is far too shallow in depth.
I know what I am talking about, having spent years in the business, in the technical areas!
However, I digress, for today, this post is to salute an incredible man, Jorn Utzon, the Danish architect who dared to put a dream vision into a competition, and since then, to this very day and beyond, we reap the incredible rewards.
VALE JORN UTZON!
Photo Credit: author: Matthew Field:LINK:
www.photography.mattfield.com
GNU Free Documentation License
The stunning Sydney Opera House, at night.
Photo Credit: LINK: author: Adam.J.C.W.
GNU Free Documentation License
Utzon was blamed for huge cost overruns, (over 1,000 per cent), however, as some observers note, it was the N.S.W. Government that changed the goal posts, insisting that the foundations be laid BEFORE Utzon had completed the architectural drawings for the building and, in addition, changing the brief regarding the building's uses, during the design stages, therefore affecting its internal configuration, without consideration to the affect it would have on the various venues and their practical effectiveness.
The working relationship between Utzon and the government steadily deteriorated after that, resulting in his resignation.
This then allowed the local authorities from N.S.W. State Government to take more control, reduce Utzon's original concept to a lower grade version, hoping it would cost less money, but it costed much more. Everyone carped on about the cost overruns, blaming Utzon basically, even though it was the government's fault for changing the design use, midway through. The government had created a special State Opera House Lottery to pay for its construction, (which it did in its entirety), but that made no diffrence to the naysayers, as usual. The government also profoundly stuffed up the interior usage of space and thus reduced its effectiveness as a commercial and practical venue for various styles of performance.
The original design for the interior was changed, so what was to be the Opera stage and its auditorium, was swapped with the Concert Hall, the audience capacity increased, resulting in a nightmare for acoustics and functionality.
So bad were the acoustics, (it requires a different arrangement of acoustic design for orchestra than it does for voice) that the acoustic rings, or "jelly blubbers" as some referred to them, (well, I certainly did!) had to be hung over the concert stage to try and achieve a more effective reflection for the musicians, and the orchestra pit was described as dangerous to musician's auditory health.
Concert Hall, jelly blubbers suspended above stage.
Photo Credit: LINK author: Koika
GNU Free Documentation License
The problems did not end there, with the idiotic (read bureaucratic) idea of buying the stage technical gear too early, (years before completion of the building), such as the stage lighting boards, which were state of the art at the time of purchase, (electro-mechanical servo motored dimmers), but were quickly outdated by the new era of electronic boards, by the time they were installed.
I saw the old clanker opera lighting board in 1980, I was told how unreliable and inaccurate it was, and remember wondering why they were still in operation at the time. A lot of major staging equipment that had been designed to fit in with the original building plans, which were changed by the government mid way, much of it had to be scrapped, thrown away.
The stage area needed for a full sized classic opera is huge. The concept for stage design, for lyric sized theatres as formulated by German design, (in particular) is to allow three times the area backstage as one can see from the auditorium (audience).
Sydney Opera House (Farm Cove view)
Photo Credit: LINK: author: Bjarte Sorensen
GNU Free Documentation License
This allows for large set pieces to be 'struck' (removed to backstage) while the new set piece(s) are positioned onstage.
The Sydney Opera House's opera stage cannot achieve this, as it does not have anywhere near the backstage area needed to do the job properly, for a full scale large opera production.
The Drama Theatre, has practically no useful backstage area at all, thus its use is limited, as some touring productions require a larger, more practical stage area.
The Concert Hall has had major problems with its acoustics and orchestra pit.
And that is but some of the problems created, in large part, by a breakdown in communication, proper consideration being given to the design process, proper budgeting and time allowance for experimentation and the wisdom to keep the project based in practical reality.
Having said all that, most live performance stages do not achieve the perfect German design configuration, however, most large commercial stages in Europe and the USA, at least approximate it, some even exceed it.
I am out of touch with the latest stages, in Sydney for instance, however, after working in the Theatre Royal, (in 1983), in Sydney's skyscraper MLC building in the CBD, I can tell you some architects have no idea about stage configuration and the practicalities of backstage needs, the Theatre Royal is also a small disaster, as it is far too shallow in depth.
I know what I am talking about, having spent years in the business, in the technical areas!
However, I digress, for today, this post is to salute an incredible man, Jorn Utzon, the Danish architect who dared to put a dream vision into a competition, and since then, to this very day and beyond, we reap the incredible rewards.
VALE JORN UTZON!
Sydney Opera House (Circular Quay side)
Photo Credit: author: Matthew Field:LINK:
www.photography.mattfield.com
GNU Free Documentation License
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Comment by Janet Collins
The Social Critic
Janet Collins Blog
Comment by alt_ed
Alted Opinion
ArtCombat
The Inner Saintdom
Comment by Mountain Fog
Infognito
nice to see someone still cares about Utzon!
cheers
fog
Comment by Mountain Fog
Infognito
yes indeed, her 'internal organs' are not exactly the best, but, her exterior...woof!
cheers
fog
Comment by Cibbuano
20/20 Filmsight
Science News
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Comment by Mountain Fog
Infognito
dead right about that!
Actually, the design concept opened new doors for building design, as the "sails" were created as if taken apart from one large globe, it added strength and allowed them to pre-form the girders and whatnot.
Very interesting tale, its construction, and as a wee nipper, I used to stalk around it taking photographs with the old Voitlander camera my father gave me, must try and uneath those phots one day, as it shows the construction up close.
cheers
fog