Essay, Pages 4 (902 words)
The lower wall, boxes, and stage are paneled with hard brown wood, brush box (Parker 1994 87). Both woods are Australian. Suspended from this center point are 21 giant acrylic rings, acoustic reflectors installed to give acoustic feedback to the orchestra and some early sound reflections to the audience immediately surrounding the stage. The orchestra platform is placed in the front fourth of the hall, with 410 seats of the 2,696 total located to its rear and 158 seats in two boxes at the sides of the stage (Ayers 2004 133).
The ten boxes take the place of side balconies are unusual in that they are steeply sloped and seat from 50 to 79 each.
The main audience area is steeply raked compared to the main floor of classical shoe box halls, Behind this block are two elevated scaling areas, even more steeply raked, which the place of balconies—without overhang. The large side walls that comprise fronts of the boxes were designed to give early sound reflections to at least half of this center area of seating.
The upper seating receives early reflection, from the bottoms and edges of the birch ceiling. The grand organ, designed and built h an Australian, Ronald Sharp, with 127 stops comprising 10,500 pipes, is said to be de largest tracker action organ in the world (Lansdale 1994 165).
Bill Ford worked closely with the CEO to establish learning teams. These have played a vital role in transforming industrial relations, customer services, and strategies to broaden the organization’s market such as disabled access and children’s programs, and other activities (Fergusson 2000 82).
The renewal was achieved with a group called the Concept Team, made up of people from all levels of the organization. The programme is therefore not driven from the top down, but by people working at every level (Parker 1994 9). It has gained the involvement and commitment of the entire work force.
There is a diverse wealth of talent among the people who work at the Sydney Opera House (Lansdale 1994 167). Teamwork has harnessed their expertise and skills to their lull potential. At the same time the Opera House prepared a new enterprise development agreement called ‘Relationships, Empowerment and Leadership’. For this purpose ii teams involving 89 people were established (Fergusson 2000 84). There is now a sense that the Sydney Opera House is a place where individuals are empowered to make a contribution to the organization. There is a new focus on personal growth, initiative and excellence of performance (Lansdale 1994 167).
Paris Opera House The first was Charles Garnier, chosen from 171 contenders to be the architect of the new Paris Opera House, which was opened, amidst great publicity, in 1875. The style he adopted was a new one, the style of Napoleon II as he put it, and the materials used included many varieties of marble, particularly for the grand staircase (Murray 2004 37). One of these, Swiss cipollino, was used there for the first time. The Paris opera house of Charles Garnier was an important influence on the creation of ever more dramatic opera houses in Barcelona and Madrid.
The two ideas, of Paris as a theatre, and of society as spectacle, come together in many contemporary descriptions of Paris (Parker 1994 91). Tourists were the audience for this great spectacle of change and were sufficiently distanced not to feel implicated in the plot. It may be a question whether the four groups of pillars which are introduced tog give apparent support to the dome are legitimate modes of decoration, or whether the simple outline employed by the Italians is not better (Murray 2004 37). Wherever they may be placed, they must obstruct the view of a certain number of persons.
The auditory is generally as pleasing and often as interesting a part of the entertainment as what passes on the stage; and a certain amount of decoration, even at some sacrifice of space, is surely a legitimate expenditure there. On the other hand, the Opera House at Paris, or Academie de Musique as it is usually called, is constructed on totally different principles from those just described. It is, in the first place, very much smaller, containing only four tiers of boxes, and these of less extent. It has besides capacious galleries. Conclusion
In addition to being an architectural icon, the Sydney Opera House is one of the world’s busiest performing arts centers with sonic 88,000 people visiting it each week. However, it was one of the most notoriously divided workplaces in Australia, racked by industrial disputes. The great distinction of Paris Opera House, however, is the extent to which decoration is carried, and the immense development of the accessory apartments. The similarities are the concept of architectural design and the cultural emulation of theatrical and musical inclination of the parts, while the evident difference is the style of concept.
The Sydney Opera house relies on the post-modern design, which is around 1960s, while the Paris Opera house institutes the medieval gothic ambiance.
Ayers, Andrew. The Architecture of Paris. Edition Axel Menges, 2004. Fergusson, James. History of the Modern Styles of Architecture. Adamant Media Corporation, 2000. Lansdale, Janet. Dance History: An Introduction. Routledge, 1994. Murray, Peter. The Saga of Sydney Opera House: The Dramatic Story of the Design and Architecture. Taylor & Francis, 2004. Parker, Roger. The Oxford Illustrated History of Opera. Oxford University Press, 1994.