BBC News: 悉尼歌劇院設計師的設計趣聞

They fed hundreds of thousands of formulas into computers, but still the stubborn roof would not stand up. Then suddenly in September 1961 Utzon had an idea. He saw that if he started with a sphere, he could take all the shapes he needed from its regular surface. He came back, a week later and said "I've solved it". And he made a scheme out of a sphere but in so doing he had, of course, changed the architecture quite radically. So gradually the whole situation started going downhill.

他們往電腦里輸入了成百上千的數(shù)據(jù)，但是這個頑固的屋頂還是立不起來。到了1961年9月，烏松(譯者注：約恩•烏松是悉尼歌劇院設計師)突然想到了一個辦法。他發(fā)現(xiàn)如果他從一個球體畫起，就可以從其規(guī)則的表面畫出所有他所需要的形狀。一個星期后他又回到了公司說：“我解決了。”他從一個球體做出了一個草圖，但是這么做，當然是相當徹底地改變了原建筑物的造型。所以整個情況漸漸開始變得不好了。

Utzon couldn't, wouldn't anyway he didn't produce the documents which his client desired. Terrible shock, I mean Utzon, I mean I'm not sure that he saw himself able to complete the job. "It took Arups firm seven years, 350,000 man hours and at different times 200 engineers to do all the work before the final structure emerged." The building was actually constructed around the capacity of the largest tower cranes which could be found. "Seven years after Utzon resigned after endless discussions, arguments, changes in plan and the expenditure of a further 40 million pounds, a finished building, the architectural extravanganza of the century has emerged." You can't quantify the extent to which the human spirit has been lifted by the Sydney Opera House or places like it.

烏松不能，不管怎么說，他沒有給他的客戶提供他們想要的建筑文件。非常嚴重的打擊，我的意思是對烏松來說，我的意思是我不確定他覺得他自己能完成這項工作。“在最終結構成型前，奧雅納斯公司花費了七年的時間，動用了35萬小時的人力，花費了不同時區(qū)200名工程師的工作。”這個建筑物實際上是用當時能找到的一些最大的起重機建造的。“在無休止的討論和爭論后烏松辭職了，又過了七年后，在改變了建造計劃以及追加了4千萬英鎊支出后，一個完成了的建筑物，這場上世紀的建筑盛宴終于浮出了水面。”你不能用數(shù)字來衡量悉尼歌劇院或者類似這樣的建筑物對人類精神的鼓舞達到了一個什么樣的程度。