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The Paris opera house and Sydney Opera house has dramatically impact the architectural and historical community with their outstanding form of creation. The Paris Opera House had more magnificent foyers, staircase and auditorium than anything to be found in Vienna, Dresden, Leipzig, Berlin or London although the auditorium was not large.
The new Paris Opera House, commenced under the Empire and finished under the Republic, is the most complete building of the kind in the world and in many respects the most beautiful architectural design of the Opera house (Murray 2004 12).
On the other hand, a well-known opera house in Australia is the Sydney Opera House. Most will agree that it is one of the best known landmark buildings in the world, with its soaring sail-like structure, and one that still attracts great number o visitors from all over the world (Parker 1994 86).
The architect, Jern Utzon whose design for the opera house won be open competition, unfortunately did not work on the design with an engineer to start with As a result, it was wrongly expected that the beautifully elegant sail-like shapes he had designed would be built using slender enforced concrete shells, a very efficient structural system widely used in the 1960s.
In the study, the primary condition is to detect the similarity and contrast of the two mentioned opera house, namely Sydney and Paris opera house. The study determines the purpose of the creations, the materials utilizes, and their cultural function.
Discussion Sydney Opera House Sydney Opera House in its Setting with the Sydney Harbour Bridge and the Surrounding Waterways of Sydney Harbour from Bradleys head to McMahons Point’ was originally nominated in 1981.
The Bureau decided that ‘modem structures should only be accepted when there was clear evidence that they established, or were outstanding examples of a distinctive architectural style’, and suggested a revised nomination that focused on the Harbour and had the Opera House and Bridge as incidental elements, not primary features (Ayers 2004 132).
Australia withdrew its nomination before the WHC meeting later in 1981. The site was entered on the Tentative List in 1996 and an unpublished nomination under the title ‘Sydney Opera I-louse in its Harbour Setting’ produced, but drawn-out discussions between the Federal and NSW governments delayed a new nomination (Parker 1994 87). The 2005 nomination concentrates even more on the building itself than did either the 1981 or 1996 versions, although the new one does include as a buffer zone the portion of the Harbour mentioned earlier.
The Australian Government seems to be banking on two facts: the WHC has in recent years been more open to inscribing modern architecture; and the importance of the Sydney Opera House has become much more widely accepted over the intervening years (Lansdale 1994 165). As the architectural historian Philip Drew described in great detail, the driving force behind the Sydney Opera House construction project was conductor Eugene Goosens, who was backed by John Joseph Cahill, the labor politician and New South Wales premier.
Bennelong Point in Sydney Harbor was chosen as the main area of construction that will incorporate two auditoriums seating 3500 and 1200 people. The terms of the international design competition were announced in January 1956. The Concert Hall of the Sydney Opera house was opened in 1973 (Lansdale 1994 165). Contained in one 0f the most spectacular buildings in the world, it scales 2,679 and is tile home of Sydney Symphony Orchestra (Ayers 2004 132). The enormous circular ceiling, which rises up to 82 ft (25 m) above the stage and radiates out and down to form two thirds of the walls, is paneled with white birch plywood.
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