浅析悉尼歌剧院壳体结构与中国传统建筑渊源

通过查找伍重生平及悉尼歌剧院建造史料,分析伍重与中国、悉尼歌剧院壳体建造与中国传统木构建筑体系的关系,伍重从中国传统建筑学习木构建构体系,总结出从整体建构转换为局部构件的组合方式,提炼出“单元复加原则”成功解决了悉尼歌剧院复杂的形体。     

My Country and My People and Sydney Opera House: The missing link

It is known that Jørn Utzon (1918–2008), the principal architect for the Sydney Opera House project (1957–66), had a lifetime obsession for Chinese art and architecture. However, previous studies did not explore the relationship between Utzon and his venerated Chinese writer Lin Yutang (1895–1976). How Utzon represented the ideas and ideals he received from Lin Yutang׳s conceptualization of Chinese art and architecture in My Country and My People (1935) has not been systematically documented. To this end, this article examines the role of Lin Yutang׳s work in Utzon׳s architectural career generally and the architect׳s Sydney Opera House design in particular. It argues that My Country and My People nurtured young Utzon׳s own architectural philosophy, as reflected in his early manifestoes and design projects. Eventually, Lin Yutang׳s Chinese aesthetics encapsulated in calligraphy, painting and architecture helped Utzon to initiate, articulate and further communicate the design principles of his Sydney Opera House, as well as several other important architectural works before and after. Although Utzon never fully realized his Opera House due to forced resignation in 1966, the inspiration from Lin Yutang vividly remains in Utzon׳s yet to be finished masterpiece.     

中国海盐博物馆建筑形态的意象构思

建筑之美在于它不仅是建筑材料构筑的实用空间,更在于建筑创作中蕴涵了某种主题思想,即建筑意象。如悉尼歌剧院的"帆船"形态成为经典,"流水别墅"更是建筑史上的瑰宝。结合中国海盐博物馆设计,阐述建筑意象构思给建筑设计带来的巨大魅力。     

从悉尼歌剧院论到北京国家大剧院

对悉尼歌剧院做了现场详细观察,认为该剧院是一座成功的港口雕塑, 其构造方式与建筑设计意图珠联璧合。由保罗     

悉尼歌剧院新的西柱廊

Jorn Utzon1999年受雇于悉尼歌剧院，为指导这一建筑的改建工作出一系列设计原则。作为改建工程的第二步工作，一个45m长的柱廊已经按照他的设计完工了。这个柱廊有9个洞口，包括3个门洞和6个凹进去的窗洞，它们为西侧立面的大厅提供了入口并把阳光引入其中。     

武汉琴台大剧院暖通设计

武汉琴台大剧院位于月湖北岸，汉江之滨，是湖北省迄今为止规模最大的文化设施。大剧院平面功能复杂、造型新颖独特。建筑物由大剧场、多功能厅、排练厅、剧务用房、服务配套设施用房、行政业务用房、设备用房和地下车库等组成，可以满足国内外大型歌舞剧、音乐剧、戏剧和话剧的使用要求。本文系统地介绍了琴台大剧院的暖通空调设计，以及设计中采用的新技术、新方法。     

无之无化——扎哈·哈迪德与广州歌剧院

扎哈·哈迪德的设计方案在广州歌剧院的竞标中夺得第一名,并引起建筑界的广泛讨论。试从哈迪德独特的建筑形式、女性建筑设计师身份以及她的设计理念在广州歌剧院中的体现等几个方面切入,分析这位杰出的女性解构主义建筑大师的独特设计风格,同时将广州歌剧院方案与她的其他作品相比较,对一些关于啥迪德的普遍观点加以阐述。     

悉尼歌剧院——20世纪伟大又浪漫的建筑

文章回顾了上世纪最富于戏剧性的建筑事件之一——悉尼歌剧院的设计竞赛与设计，建造过程，笔者结合实地参观体验这座伟大而又浪漫的建筑的印象及体会做出评述。以往鉴来，希望对今天重大项目的设计与建筑能有所启迪。     

Joern Utzon

These two essays by Peter Myers, who worked on the Sydney Opera House with Utzon (80 years old this year), illuminate the working methods adopted by a modernist architect quite outside the mainstream formally and intellectually. The first, through personal recollection, sketches the spontaneous exploitation of any means to hand to experiment, explore, confirm and convey a concept, very much like Picasso. He draws inspiration direct from nature, other periods and other civilisations, and synthesises these sources into poetic master works celebrating and transforming attributes of this century, rendering the impossible, possible. The second essay traces the excruciating political, professional and commercial pressures that inexorably compromised realisation of the Sydney Opera House, the flawed evolution of which continues to the present time.     

Vessels of Expression and Flows of Innovation

The current renovation of the Sydney Opera House was taken as an opportunity to investigate the relationship between building design, industrial design, and product manufacturing. Technical documents, focused interviews, and industrial statistics have been used to analyze the design of the original toilet bowls in this famous building, evaluate their success, and explain the reasons for their eventual substitution with a product-based rather than a project-based item. The conclusions show that, while successful market penetration may still benefit from some form of association between specific products and specific buildings, technological development cannot afford to impinge upon individual architectural opportunities. When it comes to industrial design, buildings function as innovation test beds (and marketing opportunities) rather than innovation seeds.     

组合式围护结构在基坑施工中的应用

介绍了杭州大剧院基坑工程设计、施工及监测情况 ,以及在施工过程中出现紧急事故的处理措施。监测结果证明采用由放破开挖、土钉墙围护结构 ,内支撑式排桩围护结构及基坑降水多种手段相结合的围护方案是合理可行的。     

Design of roof support of the Sydney opera house underground parking station

The paper presents the method for design of primary roof support for the large todoidal cavern constructed to house the Sydney Opera House parking station. The cavern was constructed with 7 m of rock cover beneath Sydney's Royal Botanic Gardens. Design of rock reinforcement using a combination of fully grouted rock dowels and Macalloy bars was based on control of horizontal shear movement along bedding features in the roof. A combination of linear-arch-type analyses and non-linear jointed finite-element analyses were used in the design study, together with an analysis of the shear resistance offered by fully grouted bolts under shear deformation.     

The two minds of architecture: the quick and the dead

Sir: In calling the British Library 'the Sydney Opera House of libraries' ('Opening chapter', 4 July), Nonie Niesewand is misinformed. Architecturally, the two buildings share nothing of value. Jorn Utzon's masterpiece was original from its core, as his sparse competition sketches made clear in 1957. Like Hans Scharoun's Philharmonie and Alvar Aalto's Finlandia Hall, it stands as one of the few major monuments of the freethinking wing of Modernism. Conversely, Colin St John Wilson openly states: 'This is where I say my thanks,' to those he conducts round his library. And he is correct, for almost every detail has been quoted from modern masters he admires, making the whole just a revivalist's fruit salad, the fruits being canned. Whereas Utzon is a true Modernist, Wilson has merely followed Postmodernism, that great black hole into which Modernism fell.     

无锡大剧院

无锡大剧院今年建成．它是芬兰著名设计师PekkaSalminen在中国主持设计的大型项目．也是其最新的代表作之一。这座文化建筑的设计几乎所有的环节都融入了芬兰和中国双方的充分参与，既体现了典型的芬兰建筑特色，又契合了中国特殊的地域文化因素．可谓是中外合作设计的一个经典案例。芬兰设计在国际上以清晰的与功能化的设计风格理念著名．能够从长远的角度满足使用者的需求。于2012年四月开放的无锡大剧院标志着第一个大尺度的芬兰设计范例在中国完成。来自PES建筑设计事务所的设计团队控制了包括建筑设计在内的从功能使用．到室内设计．环境景观设计，剧场技术．灯光与音响设计在内的全部设计。     

广州歌剧院空间异型大跨度钢结构设计

广州歌剧院建筑造型奇特,其屋盖与幕墙组成的外围护体系为空间不规则折面组合型体,结构采用了空间折板式三向斜交单层网格结构。本文对其结构体系、构型和网格划分原则、杆件截面选取及节点形式等设计情况进行介绍,列举结构在重力荷载、风荷载、地震作用及温度作用下的变形和内力情况,对结构整体稳定分析、节点分析和铸钢节点足尺试验等关键问题进行论述,并对结构的工作机理和受力特性进行总结。结果表明,该体系对奇异建筑型体的适用性强,侧向刚度和抗震性能良好,结构工作机理以刚架作用为主,整体稳定问题不突出,结构对初始缺陷不敏感。     

环境成就地标建筑——以重庆大剧院与悉尼歌剧院为例

通过对城市地标建筑的发展及其一般形态的概述,引出城市地标建筑无论是在视觉层面还是经济文化层面都离不开与其周边环境肌理的契合,与城市自然风貌以及人造工程环境共同交互影响。以重庆大剧院与悉尼歌剧院为例,通过对其体量的大小,基地、立面、外部轮廓的塑造及其色彩的选择与其周围环境关系的对比,挖掘出重庆大剧院纵然具有地处关键、体量高大、造型新颖等特点,却因没把握好同城市环境肌理的契合而失去地标效应。指出在设计城市地标建筑时,应因地制宜,充分结合当地自然环境及其地域文脉,才能成就其"地标性",推动地标经济效益。     

The two minds of architecture: the quick and the dead

Sir: In calling the British Library 'the Sydney Opera House of libraries' ('Opening chapter', 4 July), Nonie Niesewand is misinformed. Architecturally, the two buildings share nothing of value. Jorn Utzon's masterpiece was original from its core, as his sparse competition sketches made clear in 1957. Like Hans Scharoun's Philharmonie and Alvar Aalto's Finlandia Hall, it stands as one of the few major monuments of the freethinking wing of Modernism. Conversely, Colin St John Wilson openly states: 'This is where I say my thanks,' to those he conducts round his library. And he is correct, for almost every detail has been quoted from modern masters he admires, making the whole just a revivalist's fruit salad, the fruits being canned. Whereas Utzon is a true Modernist, Wilson has merely followed Postmodernism, that great black hole into which Modernism fell.     

基于结构仿生应用合理性的探讨

首先阐述了结构仿生的概念,指出结构仿生中自然模型选择与应用上的不合理性,通过对悉尼歌剧院、日本仙台媒体中心、国家游泳中心和BCE商业街个例的深入分析,最后提出若干点建议并对仿生学在建筑结构领域的发展前景进行了展望。     

图画—模型—参数化 扎哈·哈迪德设计的广州歌剧院浅析

文章以新落成的广州歌剧院为原本,在介绍广州歌剧院设计过程的同时,以图画、模型、参数化三种设计媒介分类探讨扎哈·哈迪德事务所的设计体系和方法,追溯其演变和影响。     

歌剧院舞台台仓设计

结合武汉琴台大剧院和广州歌剧院的舞台台仓设计,介绍舞台台仓设计的特点及其设计方法,供同行参考。