The Field
To define the major design and architect principles, specific attention should be made to the Wolansky Foundation defining the site, expenditures, changes, and the architect’s concepts (n. p.).
Regarding the fact that the design and construction of the Opera House are presented as the world’s known masterpiece, it is necessary to study historical, social, and design perspectives to define why the Opera House has acquired the respectable status in the world of architecture.
Theory
Neil Brown theory allows to define the frameworks and approaches through which the art object can be studied (n. p.) Hence, there is a direct correlation between the functional fittings and building spaces presented by Utzon in his project of Sydney Opera House. Tombesi and Martel state, “…the introduction of mechanical appliances into the domestic environment…moved alongside not only with the necessity to shelter such equipment but also with the challenge to integrate it into the spatial structure of the building” (43).
Judging from this perspective, modern movement has a direct relation to the industry and architecture where mass production, esthetic metaphors, and cultural icons have been closely intertwined. Engineering, equipment, and design should follow the overall concept and become an integrative force (Tombesi and Martel 51).
The formal and technical innovation of the Opera House implies the use of the construction project in an aesthetic context whereas the second dimension reflects an opportunity to test technical research for the purpose of establishing the relation between functionality and design.
Object
Sydney Opera House is considered to be one of the most recognized architectural constructions that is included into the list of World Heritage buildings. Its innovative design involves countless techniques and ides. The construction principles reflect the vision of providing the House with multifunctionality and architectural integrity at the same time (Building Program n. p.).
Designer
The Psychological
The designer combined different ideas into a unity of shapes, colors, and lines. Hence, roof silhouettes overlapping interior volumes, spherical geometry and elements of nature have been skillfully combine to render the concept of modern design (The Wolansky Foundation n. p.).
The Socio-cultural
Utzon managed to integrate functional fitting of the construction, as well as its cultural value. The construction was inspired by different examples from classical and modern architecture. Introduction of Greek motives presented through theatre seating and introducing Circular Quays are among the main cultural and social influences (The Wolansky Foundation n. p.).
The Economic
The construction was created by an outstanding architect Jorn Utzon (Building Program n. p). In 1956, when the Australian Government announced an international design competition, the main purpose was to construct two performance halls for symphony concerts and for opera (Overview: The Building n. p.).
Searching for a candidature from a pile of submissions, Jorn Utzon created great interest among the governmental authority because of his radical principles to construction (Overview: The Building n. p.). The main economic perspective pursued by Utzon was to fit the introduction into the harbor landscape.
The Methodology
Use of glass in combination with concrete cribs was the main tool used in the construction. The shell structures have been constructed gradually and, with the help of the materials, the designers have managed to convey a geometric concept.
The Artifact
The effect introduced from light, color, shape and material creates a sophisticated mixture where one component enhances the effect and function of another (Overview: The Building n. p.). The design closely correlates with functionality and vice versa.
Works Cited
“Building Program” Sydney Opera House. 2011. Web.
“Overview: The Building” Sydney Opera House. 2011. Web.
“Neil Brown Theory”. Ways to Study the Art. 13-24.
The Wolansky Foundation. Sydney Opera House. 2000. Web.
Tombesi, Paolo, and Andrew Martel. “Vessels of Expression and Flows of Innovation.” Journal Of Architectural Education 59.2 (2005): 43-52. Print.