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OPERA |
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Sydney Opera House
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PROGETTISTA |
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VIDEO |
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MATERIALI |
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calcestruzzo Struttura in cemento armato, "gusci" della copertura in calcestruzzo prefabbricato rivestiti in piastrelle svedesi di tipo Höganäs.
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LOCALIZZAZIONE |
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| Continente |
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Oceania |
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| Nazione |
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 Australia |
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| Stato |
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 New South Wales |
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| Città |
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Sydney |
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| Indirizzo |
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Bennelong Point (Fort Macquarie)
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| Telefono |
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| Fax |
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| Sito web |
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| E-mail |
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infodesk@sydneyoperahouse.com |
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MAPPA |
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TIPOLOGIA |
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ARCHITETTURA | Edifici per attività ricreative
Auditorium e centri per la musica
Teatri
Cinema
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CRONOLOGIA |
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Progetto |
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1953 - 1955
progetto vincitore di concorso
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Realizzazione |
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1957 - 1973 |
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PREMI |
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| 2007 |
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| UNESCO World Heritage Site |
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| 2006 |
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Kulturkanonen [Danish Culture Canon]
Arkitektur [Architecture]
Kulturministeriet
The committee's justification
The Sydney Opera House is Australia’s national opera building, located in a prominent spot in Sydney Harbour. The building appears as a floating, moving formation of giant white sails, the different sizes of which rise over a terraced bastion, towering towards the sea, the sky and the horizon.
Each sail is a different slice of the same large ball. They are colossal, ribbon-shaped concrete structures, clad with white, glazed tiles, arranged symmetrically in pairs on the terraced base above the opera house’s various rooms and functions, which are sunken into the base. Together, the sails form 3 mutually offset shapes, so that, when seen from a distance and up close, the construction appears to be in motion, lightly floating above the base which is anchored in the water.
The building is Jørn Utzon’s main work, and with its simple and vibrant form, its clear geometry and its thoughtful details, it is Danish architecture’s most important contribution to international architecture. As an edifice, the Sydney Opera House basically speaks of humanity’s relationship with nature's elements – the earth, the sky and the ocean. The narrative is poetic because it creates a unique shape and space, but one which everyone understands – simultaneously emotionally fascinating and surprisingly undeniable. Which is why the Australians and the rest of the world’s population can identify so strongly with the building. The Sydney Opera House has, therefore, become the building which symbolises an entire nation’s understanding of its origins and future. |
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L'OPERA NEL CINEMA |
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| Titolo |
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| Jørn Utzon: The Man & the Architect |
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| Regia |
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| Lene Borch Hansen, Anna von Lowzow |
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| Nazionalità |
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| Anno di produzione |
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| Interpreti |
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| Ruolo dell'edificio |
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| Titolo |
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| Regia |
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| Nazionalità |
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| Anno di produzione |
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| Interpreti |
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| Ruolo dell'edificio |
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| Titolo |
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| Regia |
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| Nazionalità |
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| Anno di produzione |
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| Interpreti |
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| Jørn Utzon, Philip Drew, Elias Duek-Cohen, Jon Lundberg, Yuzo Mikami, John Nutt, Mogens Prip-Buus, Harry Seidler, Bill Wheatland, Robyn Nevin |
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| Ruolo dell'edificio |
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RIFERIMENTI BIBLIOGRAFICI |
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| Thomas de Monchaux, "The First Forty", Architect 10/13, october 2013, "Front" pp. 27-28 |
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| Anne Watson (ed.), Building a masterpiece. The Sydney Opera House, Lund Humphries, 2006 |
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Paolo Tombesi, "Sydney Opera House: plus ça change...", Il giornale dell'architettura 33, ottobre 2005, "Restauro" p. 16
"World Heritage List", Il giornale dell'architettura 33, ottobre 2005, "Restauro" p. 16 |
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| Francesca Prina, Elena Demartini, Grande Atlante dell'Architettura dal Mille al Duemila, Mondadori Electa, Milano 2005, pp. 344-345 |
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| Peter Murray, The Saga of the Sydney Opera House, Spon Press, United Kingdom 2004 |
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| "Jørn Utzon dopo l'Australia/Jørn Utzon after Australia", Domus 833, gennaio/january 2001, "Post Script. Ripensamenti/Reputations" pp. 122-123 |
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| Jürgen Tietz, Storia dell'architettura del XX secolo, Könemann Verlagsgesellschaft mbH, Milano 2000, p. 75 |
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| Philip Drew, Utzon and the Sydney Opera House, Inspire Press, Annandale (New South Wales) 2000 |
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| Kenneth Frampton, Tettonica e architettura. Poetica della forma architettonica nel XIX e XX secolo, Skira, Milano 1999, pp. 305-314 (276-331) |
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| Francesco Dal Co, "Jørn Utzon [ai signori Pritzker e alla Giuria del Pritzker Prize]", Casabella 654, marzo/march 1998 [To be rather then to seem], "Editoriali" p. 3 |
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| Françoise Fromonot, Jørn Utzon, architetto della Sydney Opera House, Electa, Milano 1998 |
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| Philip Drew, Sydney Opera House. Jørn Utzon, Phaidon Press, London 1995 |
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Alessandro Rocca, "Peter Rice, poeta del Brutalismo/Peter Rice, Poet of Brutalism", Lotus international 78, ottobre/october 1993 [Omaggio a Peter Rice/Homage to Peter Rice], pp. 6-39
"Sydney Opera House. 1957 Sydney. Jørn Utzon. Ove Arup & Partners", Lotus international 78, ottobre/october 1993 [Omaggio a Peter Rice/Homage to Peter Rice], pp. 14-15 (6-39) |
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| "Opera House di Sidney completato un cantiere faticoso", Casabella 383, novembre/november 1973, "Informazioni/Informaton" p. 54 |
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| Bruno Zevi, Spazî dell'architettura moderna, Einaudi, Torino 1973, tav. 565 [XII. La terza età: itinerarî degli anni cinquanta-ottanta] |
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| Valter Vannelli, "Un teatro nella città", Moebius. Unità della cultura. Architettura Urbanistica Arte 1970/1, pp. 64-75 |
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 Jørn Utzon, Sydney National Opera House (The Red Book), Danmark 1958 |
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MOSTRE |
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The People’s House: Sydney Opera House at 50, Sydney (Australia), Museums of History NSW - MHNSW, 1 july / 12 november 2023 extended 3 march 2024
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Horisont – et operahus og en verden til forskel / Horisont – An Opera House and World Apart, Utzon Center, Aalborg (Denmark), 9 april / 21 october 2018 |
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AGGIUNTE E DIGRESSIONI |
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August 3, 2023
The Royal Australian Mint has released a collection of five commemorative coins to mark the 50th anniversary of Australia’s most famous building and architectural masterpiece.
The commemorative collection has been designed to provide Australians with a special memento of the Sydney Opera House’s milestone year, with each coin featuring a detailed illustration of the masterpiece’s iconic sails alongside the number 50.
Assistant Minister for Competition, Charities and Treasury, Andrew Leigh said the Sydney Opera House was one of the most distinctive buildings in the world.
“It is fitting this iconic building is recognised as a symbol of Australia.
“Jorn Utzon once said that if the 14 shells of his building were combined, they would make a perfect sphere. So it’s perfectly fitting that they grace a new Australian coin,” Mr Leigh said.
Sydney Opera House Chief Customer Officer Jade McKellar said it was exciting to be part of such a stunning coin release.
“We’re delighted to launch this limited-edition collection with the Royal Australian Mint to help mark our milestone 50th anniversary in October,” Ms McKellar said.
“The Opera House has played an important role in Australia’s cultural life and identity for five decades, and this special set of collectibles is a unique way for Australians to cherish that connection and sense of pride at such a historic moment in our history.”
Royal Australian Mint CEO, Leigh Gordon, said the Sydney Opera House was a landmark building that had become an icon of Australian culture.
“The Sydney Opera House is recognised worldwide as a masterpiece of modern architecture. We are excited to be part of the 50th anniversary celebrations of this national treasure, a symbol of Australia’s cultural heritage.
“I hope that people across Australia will use these coins as a way to celebrate and cherish this remarkable building for years to come,” Mr Gordon said.
Each coin features a detailed representation of the Opera House’s iconic sails. The collection includes an uncirculated 50 cent coin, a selectively gold plated 50 cent silver proof coin, a stunning $100 gold proof domed coin, a $1 silver investment coin and a $100 gold investment coin |
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| "The Opera House Hat", The Australian. Women's Weekly, 25 july 1962, cover |
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DATI
DIMENSIONALI |
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| Numero |
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| Capienza |
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| Auditorium 3.500 e 1.200 posti |
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| Altezza |
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STRUTTURISTA |
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STAFF |
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| Progetto |
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| Consulente strutturale |
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| Acustica |
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| Impianti meccanici |
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| Jørgen Varming (Steensen Varming) |
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| Impianti elettrici |
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| Consulente teatrale |
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ANNOTAZIONI |
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| La giuria del concorso era presieduta da Eero Saarinen. |
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