Relevant bibliographies by topics / Sydney Opera House

Academic literature on the topic 'Sydney Opera House'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Sydney Opera House"

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Akhurst, Paul, Susan Macdonald, and Trevor Waters. "Sydney Opera House." Journal of Architectural Conservation 11, no. 3 (January 2005): 45–64. http://dx.doi.org/10.1080/13556207.2005.10784952.

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Doyle, S. "IET@150 Engineering places. Sydney Opera House." Engineering & Technology 16, no. 7 (August 1, 2021): 62–63. http://dx.doi.org/10.1049/et.2021.0722.

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Drew, Philip. "Romanticism Revisited: Jørn Utzon's Sydney Opera House." Architectural Theory Review 12, no. 2 (December 2007): 121–45. http://dx.doi.org/10.1080/13264820701730868.

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Hammer, Joe. "Mathematical tour through the sydney opera house." Mathematical Intelligencer 26, no. 4 (September 2004): 48–52. http://dx.doi.org/10.1007/bf02985419.

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Hale, Patricia, and Susan Macdonald. "The Sydney Opera House: An Evolving Icon." Journal of Architectural Conservation 11, no. 2 (January 2005): 7–22. http://dx.doi.org/10.1080/13556207.2005.10784942.

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Chen-Yu, Chiu, Philip Goad, and Peter Myers. "The metaphorical expression of Nature in Jørn Utzon's design for the Sydney Opera House." Architectural Research Quarterly 19, no. 4 (December 2015): 381–96. http://dx.doi.org/10.1017/s1359135515000603.

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Both before and after his forced resignation from the charge of the Sydney Opera House (1956–66)in 1966, Danish Architect Jørn Utzon (1918–2008) has cited Chinese architecture as one of the most important inspirational sources of his unfinished masterpiece. However, the significance of Chinese building culture has largely been overlooked in historical accounts of Utzon's Opera House design. This is despite ample evidences suggesting several direct analogies of Chinese architecture in Utzon's design proposals. The evidence also indicates that one of the key Chinese sources for Utzon comes from the written works of Finland-born and Sweden-based art historian Osvald Sirén 喜龍仁 (1879–1966). Accordingly, this paper aims to identify Utzon's perception of Chinese architecture from Sirén's interpretation of this subject, and Utzon's eventual reinterpretation of this notion in his design of the Sydney Opera House.The article poses four questions. First, what were the socio-political contexts both of Sirén and Utzon's approach to Chinese architecture? Second, how did Sirén interpret Chinese architecture in his scholarly work? Third, what was the interrelationship between Sirén and Utzon? And fourth, how did Utzon reinterpret Sirén's concept in his design for the Sydney Opera House? To respond to these questions, the authors surveyed the literature associated with Sirén and Utzon, reviewed their private collections, and undertook interviews with their friends, colleagues and followers. On this basis, the authors constructed a series of ideological analogies between Sirén and Utzon's work, with particular emphasis on Utzon's design for the Sydney Opera House.
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Ranzi, Gianluca, Greg McTaggart, Bob Moffat, Beatriz Lee, Kerry Ross, and Mike Cook. "Concrete Conservation Framework for the Sydney Opera House." IABSE Symposium Report 108, no. 1 (April 19, 2017): 364–65. http://dx.doi.org/10.2749/222137817821232243.

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Hill, David. "Sydney Opera House Adopts Innovative Building Management Interface." Civil Engineering Magazine Archive 85, no. 9 (October 2015): 38–39. http://dx.doi.org/10.1061/ciegag.0001033.

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Peñín Llobel, Alberto. "PROMESA Y CONSTRUCCIÓN. LA ÓPERA DE SYDNEY Y EL CENTRO POMPIDOU." Proyecto, Progreso, Arquitectura, no. 7 (2012): 134–45. http://dx.doi.org/10.12795/ppa.2012.i7.09.

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Richard, Bryan, and Josephine Roosandriantini. "PENERAPAN CRITICAL REGIONALISME PADA BANGUNAN MASJID PADANG DAN SYDNEY OPERA HOUSE." Jurnal Arsitektur Kolaborasi 2, no. 2 (November 1, 2022): 24–33. http://dx.doi.org/10.54325/kolaborasi.v2i2.31.

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Critical regionalisme merupakan aliran arsitektur yang menentang arsitektur regionalism yang dinilai terlalu tradisional dan kurang sesuai dengan perkembangan jaman,critical regionalism sendiri awalnya dimunculkan oleh Alexander Tzonis yang kemudian dikembangkan oleh tokoh-tokoh lain salah satunya Lewis Mumford.Tujuan penelitian ini sendiri untuk menganalisa bangunan Masjid Padang dan Sydney Opera House dengan teori critical regionalism dari Alexander Tzonis dan leiws Mumford. Penellitian ini akan berfokus pada lingkungan sekitar,regions in memory dan rejection of absolute historicism dengan menggunakan metoder literature. Berdasarkan studi literature dan analisa dapat diambil kesimpulan bahwa masjid Padang dan Sydney Opera House termasuk ke dalam critical regionalisme mulai dari lingkungan sekitarnya,ornamen pada bangunan serta adanya modifikasi dari elemen-elemen tradisional.
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Dissertations / Theses on the topic "Sydney Opera House"

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Bavinton, George M. "One man's vision : a play in two acts and an accompanying exegesis." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16311/2/George_Bavinton_-_One_Man%27s_Vision.pdf.

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The play One Man's Vision covers the period 1963 to 1966 when Jorn Utzon, the Danish architect of the Sydney Opera House, resided in Sydney until his resignation or dismissal in February 1966. The play draws on the tensions and hostility towards Utzon, which builds in the government of the day, cultural groups, press, and also with some senior architects. Rowdy scenes in the N.S.W. Legislative Assembly paint a broad canvas of construction, funding, and political problems. These further escalate with a change of government. Utzon's daily work features interaction between his assistant, consulting engineers, and Public Works Department inspectors, as pressures develop to overcome operational and financial problems. His forced dismissal, resulting in a public rally and march, puts in doubt the completion of the opera house. The exegesis takes Arthur Miller's argument for the playwright as an interpreter of history as its starting point, in order to examine the issues of balancing history with drama in the writing of my play, One Man's Vision. To bring unity to existing reports and to construct a play capable of holding an audience, a playwright must make many choices shaped by the conventions of the theatre and of the genre of the work being attempted. A historical play based on existing records will also draw on the imagination of the playwright. The playwright, therefore, makes decisions as to the blend of history and imagination which will be used to serve the story and represent ideas and concepts through dialogue. In making these artistic decisions history becomes just one component rather than the predominant one.
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Bavinton, George M. "One man's vision : a play in two acts and an accompanying exegesis." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16311/.

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The play One Man's Vision covers the period 1963 to 1966 when Jorn Utzon, the Danish architect of the Sydney Opera House, resided in Sydney until his resignation or dismissal in February 1966. The play draws on the tensions and hostility towards Utzon, which builds in the government of the day, cultural groups, press, and also with some senior architects. Rowdy scenes in the N.S.W. Legislative Assembly paint a broad canvas of construction, funding, and political problems. These further escalate with a change of government. Utzon's daily work features interaction between his assistant, consulting engineers, and Public Works Department inspectors, as pressures develop to overcome operational and financial problems. His forced dismissal, resulting in a public rally and march, puts in doubt the completion of the opera house. The exegesis takes Arthur Miller's argument for the playwright as an interpreter of history as its starting point, in order to examine the issues of balancing history with drama in the writing of my play, One Man's Vision. To bring unity to existing reports and to construct a play capable of holding an audience, a playwright must make many choices shaped by the conventions of the theatre and of the genre of the work being attempted. A historical play based on existing records will also draw on the imagination of the playwright. The playwright, therefore, makes decisions as to the blend of history and imagination which will be used to serve the story and represent ideas and concepts through dialogue. In making these artistic decisions history becomes just one component rather than the predominant one.
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Age, Katrin. "Balettmapp Kungliga Operan : Operahusens design och arkitektur." Thesis, Högskolan Dalarna, Grafisk teknik, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1531.

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En presentation av Kungliga Svenska Baletten. Denna ska distribueras till operahus världen över innan ny turné påbörjas. Shanghais operahus var det första som fick den färdiga produkten.Fördjupningen rör olika operahus design och arkitektur ut- och invändigt. Även en del av husens relevanta historia tas upp.
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Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1415.

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This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
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Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Arts, 2006. http://hdl.handle.net/2123/1415.

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Doctor of Philosophy
This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
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(9793736), Simon Dwyer. "Illuminating the Sydney Opera House: Lighting, theatricality and Jørn Utzon’s ‘Journey’, 1965-2015." Thesis, 2020. https://figshare.com/articles/thesis/Illuminating_the_Sydney_Opera_House_Lighting_theatricality_and_J_rn_Utzon_s_Journey_1965-2015/14472381.

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Good architectural lighting strives for much more than functional illumination. Such lighting aspires to a seamless integration with the building; light provides an extension of a structure’s aesthetic qualities and serves a variety of practical functions including safety and wayfinding. This thesis examines the story of lighting the Sydney Opera House with a particular focus on Jørn Utzon’s concept of the ‘journey’ and how entering what is now one of the world’s most famous performing arts complexes is a transition from the ‘everyday’ to the extraordinary, from the routine to the theatrical. Moreover, this thesis demonstrates how the efforts of lighting designer John Waldram who, with architect Peter Hall, produced a timeless scheme drawing on Utzon’s concepts which illuminate the external structure and the internal areas, innovatively integrating lighting and architecture for a building conceived of as a sculpture. This case study investigates the lighting of the Sydney Opera House’s famous ‘shells’ as well as exploring the public stages and private spaces within the complex. The public stages comprise six internal venues and one flexible external venue connected by a variety of public spaces such as broad walks, foyers, restaurants and retail outlets. There are also over 2,000 private spaces including dressing rooms, administration offices, support and ancillary areas, underpinning the various activities that take place on the stages and in the public areas. Light guides artists, patrons and the vast array of workers that bring this well-known building, and the activities performed within it, to life, offering visual clues for amenities, revealing unique combinations of construction fabrics and regularly reiterating the theatricality of the ‘journey’ and so reinforcing the building’s primary purpose. There are many competing, and controversial, stories around this icon of the built environment. This case study privileges the, often-overlooked, contribution that lighting has made to the unique edifice that is the Sydney Opera House and how light is, too, a storyteller.
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Plush, Vincent Patrick. "Music in the life and work of Patrick White." Thesis, 2017. http://hdl.handle.net/2440/113616.

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Arguably, Patrick White (1912-1990) is Australia’s best known and most celebrated writer. In a working life spanning almost seven decades, he produced twelve novels, eight produced plays, three books of short stories and several collections of poetry, as well as several film scripts (only one of which was produced during his lifetime), countless essays and possibly around 5,500 letters. This study traces the role of music in White’s life, and details the extent to which music played a part in his literary praxis, both at the narrative level, and as a structural framework. A survey of White’s exposure to, and subsequent embrace of music over the course of his life is followed by a critical overview the extent to which music shaped four significant works. These case studies comprise three published novels – The Aunt’s Story (1948), Voss (1957) and The Vivisector (1970) – as well as an unpublished film script – The Monkey Puzzle (1978). Together, they represent four distinct periods of his creative life and exemplify not simply the growing importance of music in his creativity, but the maturation of his musical tastes and knowledge of music.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018
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Hely, Patsy. "Clay objects and the articulation of place." Phd thesis, 2007. http://hdl.handle.net/1885/151498.

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Books on the topic "Sydney Opera House"

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Heather, Kissock, ed. Sydney Opera House. New York: AV2 by Weigl, 2015.

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Shofner, Shawndra. Sydney Opera House. Mankato, MN: Creative Education, 2006.

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Julia, Collingwood, ed. The Sydney Opera House. Frenchs Forest, NSW, Australia: New Holland, 2000.

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The Sydney Opera House. New York, NY: Weigl Publishers, 2009.

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Parks, Peggy J. The Sydney Opera House. San Diego: Blackbirch Press, 2004.

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Drew, Philip. Sydney Opera House: Jørn Utzon. London: Phaidon Press, 1995.

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Fromonot, Françoise. Jørn Utzon: Sydney Opera House. Corte Madera, Calif: Gingko Press, 1998.

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Fromonot, Françoise. Jørn Utzon: Sydney Opera House. Corte Madera, Calif: Gingko Press, 1998.

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Fromonot, Françoise. Jørn Utzon: The Sydney Opera House. Corte Madera: Gingko, 1998.

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Moy, Michael. Sydney Opera House: Idea to icon. Ashgrove, Qld: Alpha Orion Press, 2008.

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Book chapters on the topic "Sydney Opera House"

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Haas, Leslie, Jill T. Tussey, and Michelle Metzger. "Sydney Opera House." In Springer Texts in Education, 167–83. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99422-8_10.

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Akın, Ömer. "Sydney Opera House, Sydney, Australia." In Design Added Value, 177–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-28860-0_16.

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Staples, David. "Sydney Opera House, 1973 Sydney, Australia." In Modern Theatres 1950–2020, 237–48. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-30.

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Charrett, Donald. "Sydney Opera House – quality, quality, quality! 1." In Contracts for Construction and Engineering Projects, 173–85. 2nd ed. London: Informa Law from Routledge, 2021. http://dx.doi.org/10.4324/9781003206897-16.

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Rey-Rey, J. "Sydney Opera House: The strength of an idea." In Structures and Architecture A Viable Urban Perspective?, 1357–65. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781003023555-162.

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Tombesi, P., P. Stracchi, and L. Cardellicchio. "The forgotten columns at the Sydney Opera House." In Structures and Architecture A Viable Urban Perspective?, 1333–40. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781003023555-159.

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Anderson, Michael, and Peter O’Connor. "Creative Leadership in Learning at the Sydney Opera House." In Education and Theatres, 53–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_4.

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Cardellicchio, L., P. Stracchi, and P. Tombesi. "Danish spheres and Australian falsework: Casting the Sydney Opera House." In History of Construction Cultures, 786–94. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173359-103.

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Ranzi, Gianluca, Osvaldo Vallati, and Ian Cashen. "A Methodology for the Inspection and Monitoring of the Roof Tiles and Concrete Components of the Sydney Opera House." In Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection, 689–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01762-0_61.

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Sophocleous-Lemonari, A., P. Fereos, M. Georgiouz, and A. Balabanides. "The case of an adaptable rationalization and structural dual generative and parametric analysis that may synchronously control the deformation of the Sydney Opera House system." In Structures and Architecture A Viable Urban Perspective?, 989–96. London: CRC Press, 2022. http://dx.doi.org/10.1201/9781003023555-118.

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Conference papers on the topic "Sydney Opera House"

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Cardellicchio, Luciano, Paolo Stracchi, and Paolo Tombesi. "Beyond the spherical solution: the contractor’s contribution to the roof of the Sydney Opera House." In International fib Symposium - Conceptual Design of Structures 2021. fib. The International Federation for Structural Concrete, 2021. http://dx.doi.org/10.35789/fib.proc.0055.2021.cdsymp.p046.

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Vermisso, Emmanouil, Marco Mandra, Juanita Bernal, and Sitki Sipahi. "Adjustable Casts." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.12.

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The design proposals Jørn Utzon completed for the structural resolution of t the Sydney Opera House (1956-57/completed1973), Kuwait National Assembly (1971-71/completed 1985)and Zurich Theatre (1964, unbuilt), examine the relationship between shape (structural profile) and material performance. Virtually, the roof modules of these projects consist of infinite numbers of structurally efficient profiles which are expressed through a geometric continuity. Using profile succession from ‘T’ to ‘’U”, among other combinations, Utzon explored the location of “material where it is structurally most useful” (M A Andersen 2014). These studies examine the analogue algorithm used by Ove Arup and Jørn Utzon to design the concourse beams (often called the “moment” beams) at the Sydney Opera House. The beam design is based on optimal material arrangement, in an attempt to unite form and structure: towards mid-span, where bending moment is greater, the beam cross-section assumes the shape of a “T” while the cross-section at the end conditions turns into a “U”. The surface geometry of the beam is defined by interpolating between these three conditions (U to T to U), resulting in a fluid, doubly curved geometry that ranges between these two shapes, thereby creating a ‘family’ of shapes.
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Weber, Peter. "Power, Public Authority, and Place: The Changing but Critical Role of the Architectural Profession." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.19.

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The paper examines the nature of the power structure in a large metropolitan city, as it relates to the role of the architectural profession in the urban development process. The increasingly complex regulatory and technological influences generate interactive processes in the case of large development projects; these are reviewed in the case of three projects in Sydney – the Olympic 2000 site, Circular Quay East adjoining the Opera House, and the Casino. The paper addresses the implications for architectural education of contemporary processes, and whether, in the words of the conference chair, they have contributed to a “subverting” of the conventions of place.
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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