SYDNEYOPERAHOUSEUTZONDESIGNPRINCIPLESMay 2002

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INTRODUCTION

1.0 THE VISION1.1 THE SYDNEY OPERA HOUSE

2.0 THE FUTURE2.1 APPROACH2.2 PRINCIPLES

3.0 DESIGN PRINCIPLES3.1 OBJECTIVES3.2 FUNDAMENTAL PRINCIPLES3.3 SYDNEY OPERA HOUSE DESIGN PRINCIPLES3.4 PROCESS

CONTENTS

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“Since being completed twenty-five years ago,the Sydney Opera House has become aninternational icon, instantly recognisable topeople all around the world.

It is one of the world’s great buildings of thetwentieth century and a living testament to thecreative mind of its architect, Jørn Utzon.

The Sydney Opera House Trust has decided toembark on a long-term program aimed atachieving two significant objectives.

The first is to safeguard the Sydney OperaHouse and its site for the benefit of futuregenerations.

The second is to address the currenteffectiveness of the building’s function as acontemporary performing arts centre.

In establishing these two objectives, we aremindful that they must be achieved within thedesign principles established by Utzon.

The challenge now facing the Trust is tosafeguard the integrity of Jørn Utzon’s vision,whilst assessing the functions of the building toensure that it can continue to perform as theworld-class performing arts centre that Utzonintended it to be.”

Extract from Media Release 1 September 1998by the Chairman of the Sydney Opera HouseTrust Mr. Joseph Skrzynski.

This document prepared by Jørn Utzon outlineshis vision for the building and its setting and hiscomments on the future. It is the first criticalstep in the process of establishing a long-termplan for the Sydney Opera House.

It is intended as a permanent reference for theconservation of the building and its setting. It canbe used to clarify original design intent, tomanage proposals for change and influenceplanning controls for the precinct.

The document is structured into three parts. Partone contains a recent text written by Jørn Utzon,describing his vision for the building. Part twooutlines Utzon's approach to the future of thebuilding, and Part three lists the fundamentalprinciples underlying the designs.

INTRODUCTION

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THE VISION01

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The programme for the new Opera House inSydney was so unique that I felt I simply had toparticipate. This programme had all an architectcould wish for. It had a fantastic site, with abeautiful and demanding position on BennelongPoint.

This caused me to start on the projectimmediately as I happened to live near the castleof Kronborg, situated in a similar position withsimilar surroundings between the two coasts ofDenmark and Sweden, with the town ofHelsingør on one side and that of Hälsingborg ofthe other.

With Kronborg in mind I was convinced that anew building in such a position as to be seenfrom all sides, had to be a large sculpturalbuilding.

1.1THE SYDNEY OPERA HOUSEUTZON DOCUMENT, DATED 4 JUNE 2000

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Another inspiration I got from seeing the navalcharts over Sydney, on which were shown thesandstone heads at the entrance to SydneyHarbour. These heads slope upwards to theGap, where they drop abruptly to the sea.

The same feature is often seen in Denmark, on asmaller scale, where you walk uphill as youapproach the sea to the edge of an escarpmentfalling away to the beach and sea below. As youapproach the edge you look up into the emptysky and only at the very last moment are youable to get a magnificent view of the sea.

This feeling of moving upwards, was adetermining factor in the shaping of the largeplatform or plateau, which, within its mass, couldhouse all the facilities for preparing theperformances with stage sets etc. On top of thisplateau the audience should meet theperformers. In this way, the appreciation of theman-made performance landscape would bevery strong. The audience and the performanceitself, all taking place on top of the plateau,should be covered with a “light” sculptural roof,emphasising the heavy mass of the plateaubelow.

To emphasise the mass of the plateau in relationto the sea (harbour) and to the white roof-shells,it is very important that the exterior of theplateau remains with as few and as smallopenings in its sides, as possible. If the plateauis perforated by many windows it will changecharacter and will soon have the appearance ofan office building with an unbalanced whitestructure on top.

Another source of inspiration I got from an earlyvisit to the Yucatan Peninsula in Mexico. TheYucatan Peninsula is flat with a jungle vegetationof approximately 8 metres in height. In this junglelived the Mayan People. When they build theirtemples, these are often placed on a largeplatform with wide stairs leading to the top of thejungle canopy. From here you have a limitlessview of the expanse of jungle, like a large plain.On this platform the temples were built.

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The feeling you have when you sit on one ofthese grand staircases in Mexico is a feeling ofliberation from daily life. Because I had seen this,the large staircase at the Sydney Opera Housewas made 100 metres wide and the plateau ontop became a very important feature for thefeeling of being in another world. This plateaualso functions as a gathering place, a townsquare and outdoor auditorium.

One functional problem arising from the size ofthe site was that it was impossible to place thelarge wings or side-stages at the same level asthe stage itself. Therefore these were placedbelow, in the plateau, an arrangement also seenin a few other theatres in the 1960s.

From here the sets were transported to thestage with large elevators, arranged in apaternoster system, providing a continuous upand downwards movement of the sets for thesmooth operation of the stage in the largeauditorium or Major Hall. For the Minor Hall therewere two sets of elevators, one set in therevolving stage and one set behind that.

The base or plateau was made 12 metres high,so it was possible to have the full stage heightbelow the stage-level, for arranging the sets priorto their being sent to the stage. Because of thisarrangement it was possible to place the twohalls alongside one another and receive theaudience via a grand staircase.

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When you enter the building you pass aroundthe stage towers to enter the auditoria from thesides. During intermission you remain around theauditorium and can retain the feeling of being inanother world.

It is very important that the audience does notenter, and walk through the building along darkcorridors to a dark hall.

In the Sydney Opera House you are aware ofyour orientation at all times. It is important thateach member of the audience has a simple,easily understood tour, from the entrance to hisor her seat and out again.

All problems regarding egress in case of fire andfire staircases are solved in a similarcomprehensible manner.

Thus the house could function according to thecompetition programme.

The major items in the programme were a MajorHall for opera and concerts, a smaller Minor Hallfor theatre and a Chamber Music Hall or room.

The question of how to cover the foyer, theauditoria, the stages and stage-towers wassolved by covering these functions with largeconcrete shells, which follow the height of thevarious functions.

In this way very sculptural shapes were arrangedside by side, so one gets a varied picture of thecomplex, according to which way you move inor around the structure.

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All parts play together in a rich variation ofshapes, the exact feeling I enjoyed from seeingmy native Kronborg.

If the work in producing the base and arrangingall the functions in this lower part of the buildinghad been a very difficult one, the work regardingthe remainder of this building was no less so.Whenever an obstacle was encountered weoften had to change tack completely to findanother way to solve the problems. Thishappened a lot of times.

It was unlike making any other building. Aparallel to the automobile industry would be, notto develop and produce another car-model, butrather to develop the first lunar landing module.For instance in the case of the exterior claddingof the shells, it was impossible to determine thegeometry of the tiling, until full size mock-upshad been made.

We made full-scale mock-ups or models, whichwere important tools, which, together with thedrawings, enabled us to solve specific problems.

For instance the first mock up of the tiling clearlyshowed that our initial solution did not work.

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This caused us to rethink the problem andeventually come up with a solution, whichresulted in the tiled elements covering theexterior of the shells today.

This solution was again depending upon thesolution of how to construct the shellsthemselves. So as was often the case, onesolution was depending upon others and vice-versa.

Initially, no definite geometry for the shells hadbeen established, but, as work progressed, theshells were developed according to a sphericalgeometry and we suddenly had a commondenominator, the same spherical surface to dealwith, with a similar curvature throughout.

This was an elegant solution to a construction,which would otherwise have had to be done witha large amount of scaffolding and shuttering,both for the interior and exterior shape of theshells.

Now the shells could be sub-divided into ribs,which again could be divided into smallerelements, which could be cast within formworkrepresenting the largest rib-entity. Thus it waspossible to pre-cast the concrete-shells insmaller pieces and assemble these pieces onlocation.

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The elements were erected by very advancedmethods and joined by post-tensioning tocomplete the shells, putting them together asbuilding blocks.

This again gave way for a very logical and orderlygeometry for the tile lids that were to cover theentire surface of the shells.

The tiles were a major item in the building. It isimportant that such a large, white sculpture inthe harbour setting catches and mirrors the skywith all its varied lights dawn to dusk, day to day,throughout the year.

The citation from the American architect LouisKahn: “The sun did not know how beautiful itslight was, until it was reflected off this building”,describes the importance of this surface and ofthe decision to make the surface white.

One of the judges, Eero Saarinen who wasaware of this, told me at one stage, after theresult of the competition was made public: “keepit white”, because the Harbour (surroundingbuildings) is dark, with all its dark, red or brownbrick-structures.

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To develop these tiles I worked with one of thebest ceramic factories in the world, Höganäs inSweden.

The Höganäs factory generally producedstoneware tiles for the paper-mill industry. In thepaper-mills the boiling water with the pulp ischannelled through huge ducts lined with thistype of stoneware tile. The ducts are thenflushed with ice-cold water from the rivers. Thisextremely harsh treatment puts any materialthrough a tough test, and it was therefore naturalthat the people who could produce tiles, able tosurvive this treatment, should be involved in thedevelopment of the tiles for the SOH.

The factory, after many trials, came up with tilesmade according to a certain technique, wherethe raw tile is painted with a sauce or slick of thesame material, is fired, and overlaid with aglossy, transparent glaze before it is fired the finaltime.

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This gave a surface, which had a beautiful lustreor sheen, a surface that would retain its visualqualities even when the tile became dirty. Anormal ceramic tile with a normal glaze has arelatively dull surface, as if it is made from whitecardboard, and when dirty it completely loses itslustre.

By sub-dividing the tile surface into glossy tilelids, with matte tiles at the edges, I achieved myaim, to have the structure expressing thearchitecture and vice-versa. You find a similarsituation in Gothic Cathedrals, where thestructure is also the architecture. The same isseen in Chinese and Islamic architecture,although with different expressions. Thearchitecture with the ribs is much moreexpressive than if the shells had been cast in-situ, with the resulting flat unstructured surfaces.

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This effect was also developed for the base orplateau, where we structured the ceiling abovethe audience in the access areas, in the foyerand in the concourse areas. It spans completelywithout columns, as I wanted an open area witha ceiling of structural ribs. These ribs shaped sothey elegantly express the forces within thestructure. They express the harmony in thestructure.

This resulted in a building where all spans areclearly expressed by ribs and folds. So you havea house where all the large surfaces are easilyread or comprehended because of thegeometrical order, and in the roofs the largeamount of white tiles sub-divided into segments,are like the structure of a leaf which, with its ribsand infill, have an organic beauty of its own.

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The concourse area needs more light, in orderfor the area to have a more welcomingambience. It is relatively dark space, due to thematerials used and primarily due to thecontrasting harsh sunlight at the eastern andwestern sides. One way to remedy this is toraise the light level in the area artificially. Anotherway could be to white wash the concretesurfaces of the ceiling above the area.Whitewash can be cleaned off again, or appliedin such a way that it does not camouflage theconcrete texture. Trials in `selected areas wouldbe needed to establish the correct procedure.

The base or plateau was clad in concreteelements with an exposed granite aggregate,which gave the base a brownish sand-likecolour, as it was not possible to have such largeamounts of natural stone cut from the samequarry for the surfacing of the base.

These concrete/granite elements were producedas prefabricated elements after a full sized mockup had been made, with various openingspresented so that everything could be checkedbefore final decisions were made. This is againan example of the importance of the full sizedmock up as a tool for determining the bestsolution for the building.

We arrived at the various solutions for corners,materials, details and colours, through acombination of drawings, models, samples andmock-ups, always trying to select the finestsolutions for this building and for my client.

The fact that the engineers and we were open tonew possibilities, even though that meantrejecting the old solutions was instrumental inmaking this a noble and harmonious buildingwith a very forceful architectural expression.

This happened at a time where the reigningfunctionalism had not yet yielded to the idea ofgiving buildings a more humane expression. Thisis explained by S.Gideon in a remark he has inone of his books. He explains that the right toexpress oneself is back in architecture with thisbuilding.

As in large cathedrals the Opera House isfunctional in the sense that people have abeautiful experience entering and walking up thestairs and entering the auditoria, while they areall the time oriented in the beautiful harbour andhave the views of the spectacular SydneyHarbour setting.

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We had to commence building at a stage wherethe working drawings had not yet beencompleted or finalised, so construction began atthe building site a long time before we hadcompleted the drawings, and constructiondrawings were being produced just ahead ofconstruction as the building grew.

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Regarding the acoustical properties for the halls,we started working on the acoustics in Europewith a Danish engineer - Jordon, and after thatwe tried an acoustic firm from Germany -Cremer and Gabler, who had already made morethat 30 concert halls around the world, one ofwhich was a famous hall in Berlin for Berlin’sPhilharmonic Orchestra.

They made models as had Jordon in scale 1 to10 in their laboratory where they arrived at theshape which is the shape for the Sydney OperaHouse halls which was shown in a later scheme.

The acoustical shells were free of the coveringroof - the shells. The halls acoustically had ashape that was oriented towards the stage. Itwas a large, plywood construction. We hadarrived at a solution where we could rest allthese convex slices on the underside of theacoustical shell, onto a frame around theproscenium opening, from which theseacoustical members splayed out like a fan.

The acoustical shape was absolutely clear, bothin sound and in the way that you would observeit as an audience. The smallest auditorium, minorhall, had been tested in a laboratory, and when Iasked the acoustical experts if we shouldchange the shape of the acoustical ceiling furtherthey say “No, no don’t do that because it isperfect, actually it is almost too perfect”. The hallwas in its way in the same evolutionary processalong similar lines for the multipurpose hall usedas a concert hall and an opera theatre.

Around this time the break came with a newgovernment and a new Minister for Public Worksand I was pushed aside as architect for the job.Luckily Ove Arup stayed on the job; otherwise itwould never have been completed. But the twohalls, as I had designed them, were scrapped bythe new client and his architects. They had anew and different programme for the completionof the building, to the one I had been workingon.

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Another item that had taken considerable timewas the glass walls enclosing the ends of theshells. We worked with ideas of various kinds ashad Ove Arup’s office. We worked for a longtime with a solution where the mullions wereplywood laminated with bronze but it turned outto be somewhat complicated.

At the last meeting I had with the engineer fromOve Arup’s firm, Mick Lewis, I handed over thedrawings for mullions made of twin pipes with adistance between them, which the sketches willshow, which is somewhat similar to the solutionwhich had been used. And upon seeing thisMick Lewis said, “Well now I can make the glasswall”.

The glass wall, which has been built, is in familywith the glass wall we arrived at with its feelingof its hanging from the shell, but the old solutionwas not splaying it out, as it has been done.

According to our way of working, the glasspanels were to be of equal size, facilitatingproduction etc.

In both versions you have, as you walk aroundthe foyer, the full unimpeded view of the SydneyHarbour. You get a fantastic feeling of opennessof space after being inside the auditoria.

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REBUILDINGRecently there has been some talk about re-building and re-modelling the entire SydneyOpera House according to the plans I madethen, back in the mid 1960s.

I really don’t think it is a viable solution to re-model the whole building according to the oldplans.

The Sydney Opera House has been built and ithas been used in a certain way which satisfiesthe users and has satisfied the people of Sydneyand a lot of people from abroad for many years,so it would not be correct to go back to thethoughts and ideas that were new in the early1960’s which were based on a differentprogramme for the building.

It seems that most people love the building, andit is very difficult to image everything beingchanged, that the building should be closeddown for a number of years, that work should goon at a construction site where nobody would beable to use the Opera House.

So I suggest that modifications can be made asthe questions and needs arise - wheneversomebody wants to remodel something, re-furnish areas you could look back at the ideasthat were being developed, some of these mightbe viable today or at the time when the changeis called for, and some of them have beenoutdated, because huge technologicaladvances. So I really advise the future decision-makers to carefully contemplate all aspects ofthe intended modifications before changing theOpera House.

I understand from various statements that theConcert Hall has certain acoustical problems.But as it is an impressive auditorium, that thepublic is happy about, I suggest that anapproach be made to an acoustical specialistwho has made concert halls of a similar size andcomplexity with success. Because making anauditorium for 1200 people is not a very bigproblem as opposed to making one for 3000people.

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Ideally the person at the back row should haveas good a sound reception and impression ofwhat goes on the stage as the person sitting 10rows back from the stage.

If the firm of Cremer and Gabler and their firstman Nutsch are still in existence, I suggest thatyou approach these people as they were theacoustical experts on the Berlin PhilharmonicConcert Hall, which has a similar layout as theconcert hall in the Sydney Opera House, with acentral stage, which was also the result of arequest by the conductor Herbert von Karian ashe wanted to be seen from every side.

A part of the future considerations about theOpera House comes under the heading ofgeneral maintenance. This I feel is welldocumented in the report by the Minister ofPublic Works. But the inherent danger in largebuildings, which have become popular, is thatthere is a tendency to want to fill too mayfunctions and rooms into those buildings.

I have heard that the area below the stage of themajor hall where elevators used to go has beenturned into a studio stage/hall. This I find is agreat idea because this can be seen as anecessary function in such a large culturalcomplex as the Sydney Opera House.

So in general I can say that I am very happy thatso much with the Sydney Opera House hassucceeded, and that the architects taking overthe work after me, Hall, Todd & Littlemore, withthe aid of Ove Arup’s Company, has made thebuilding function so well.

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COLOURSIn my project for the Sydney Opera House I hadwhat you could call nature’s colours on theexterior. That was the general idea - concrete,granite and ceramics. Within this landscape youhad the halls that were to be richly decorated infestive colours but all this was in the developingstage and had not yet been finalised.

The geometry in the construction is such thatwhen you paint the different parts in the coloursshown in the drawings, it would be as beautifulas, for instance a large flag fluttering in the wind,where you see the pattern of the flag repeatingitself in succession behind one another in a waythat suggests a flag but you don’t see it as awhole. Or you see it in various cross sections ofnature’s elements - if you cut across an onionyou see the different layers - it’s the colourswhich again leads your thoughts back to thecomplete item, in the same manner ofexpression where the elements that aredecorated in a certain way when put together

give more richly varied surface structure thanwould have been if it had been a simple smoothsurface throughout with a single flat colour.

The idea was to see a spectacular building asyou arrive and as you enter the foyers you seeadditional colours. You also get a more intimatefeeling. As you enter the Minor or Major hall thisexplodes into a very rich expression of colours,which uplift you in that festive mood, away fromdaily life, that you expect when you go to thetheatre, a play, an opera or a concert.

So you have a culmination of space, of colourswhen you are at the meeting place between theperformers and the audience. So going to theOpera House is a succession of visual and audiostimuli, which increase in intensity as youapproach the building, as you enter and finally sitdown in the halls, culminating with theperformance.

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The Minor Hall wasprogrammed primarily fortheatrical productions, whichrequire a relatively dark orsubdued colour scheme forthe auditorium. In the spiritof the below illustration:

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HALL INTERIORSOve Arup said at one stage “Why can’t thearchitect tolerate a steel construction instead ofthose hollow, plywood pipes for the acousticalceiling”, and I responded, “I can accept to putthe steel frames inside the hollow plywood tubesthat make up the acoustical ceiling and thussatisfy the engineer’s requirement for strength.But we need to make full-scale models of partsof this structure to ensure that the proposeddetails and colours are correct.

The Major Hall was to beused for Grand Opera andconcerts, with an optimistic,light colour scheme, in thespirit of the illustration atright: 43

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FURNITUREEverything about furniture, details and so on willonly be briefly touched upon, because we hadnot yet reached the stage where we had begunto go into detail with this.

We made the working drawings just ahead ofthe actual construction going on at the buildingsite so therefore development was not very farahead of what was actually going on at the siteat any one time.

This of course is not the best way to do thingsbut on the other hand, if the decision back in thelate 1950s had been that the project shouldhave been completed entirely and then sent outfor tender, then the Opera House would not haveexisted today. So it is thanks to the politicalforesight of Joseph Cahill that the building wascommenced on the loose grounds it was, andthat Sydney has this useful landmark today.

The reason for the time it took to develop allthese things around the Opera House was thateverything was so totally different from what hadbeen seen before: everything had to bedeveloped more or less from scratch. We couldnot just put bits and pieces together from acatalogue.

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When you build a building like the Opera Houseit is like an oil painting by one of the Masterswhere every time you add a brush stroke itshould enhance the total painting, as soon asyou put something wrong in this painting, awrong colour, a wrong shape, then the totalimage is of a lesser value than it would havebeen if the same artist had been allowed tocomplete the picture.

A change happened in government. Of coursethis was something which was bound to happensooner of later. Unfortunately my contract withthe Opera House Committee was stopped, orwas not renewed. I did not have the contractwith the Minister of Public Works, but with theOpera House Committee, and this contract thenew Minister of Public Works did not want torenew or take over.

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The Minister didn’t want to use the Committeeor the Committee’s great expertise built up overthe years in developing the Opera House. Thecommittee was the creative force behind theOpera House.

For me as the architect and for the engineers,the Opera House committee with Mr. Havilandas chairman together with the Minister of PublicWorks, Mr. Ryan, was the most stimulating andpatient Client I have ever had.

Everyone was working hard to fulfil the wish ofPremier Cahill, to give a marvellous culturalcentre to the citizens of Sydney.

Concerning the remodelling and maintenance ofthe Opera House I feel there are a number ofpeople who have known and followed thisbuilding throughout its existence. I think it wouldbe a good idea to place in the hands of thesepeople and their companies the maintenanceand the possible renovations, as they know theOpera House intimately through their work onthe building.

These people could be used as consultantsbefore decisions are made. Another idea wasthat they could come forward and tell what couldbe problems arising from doing this and thatwhen you want to do something to the OperaHouse. Usually things that are constructed havesome sort of logical history and when you knowthat it is easier to take the right decisions at anyone time. And in this respect, Arups office is ofcourse of key importance as they know wherethings are, what parts of the building can takecertain loads, what has been hung in differentplaces, the way the walls, materials etc, whichare important for the total structure of the house,have been constructed and applied.

This should all be coordinated with RichardJohnson as the coordinating architect.

The Opera House today is of course not my orour building, it is as much a building made byHall, Todd & Littlemore and it is not somethingwhich we can add on or patch up by doing thisand that.

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As the present conductor of the Opera Househas said the acoustics of the concert hall wasvery fine at the time it was built. The SydneySymphony Orchestra came from the Town Hallto the Opera House which of course was muchbetter but since then the Orchestra has had anopportunity to play in various great halls aroundthe world and have seen and heard that thereare possibly other and better solutions forcreating a better acoustical surrounding, also forthe Opera House. So what was good back inthe 60’s was okay then, but as people developand as music develops, as our perception ofmusic and place develops, our demandsbecome higher and this development willprobably in the future change a lot of features ofthe Opera House simply because you need toadjust to instruments, as such.

With the words of the acoustical engineer,Cramer, I would like to say that the ideal concerthall is a hall which is shaped in such a way thatyou do not have to adjust the sound withabsorbents. By doing so you kill off some of thesound energy, whereas if you retain the brillianceyou have much more sound energy travelling tothe audience.

So rather than changing the acoustics byabsorbing certain unwanted sounds orfrequencies, it is better to adjust the physicalshape of the hall in such a way that you achievethe perfect acoustical properties. It is like a violin- it has its shape because of its long evolutionand it has attained that shape, through evolutiontoward perfection. It has not changed very muchin the past couple of hundred years because ithas reached the capacity or the best possiblesolution for this particular instrument at a certainstage in its development.

Another matter, the conservation report from theMinister of Public Works on the Opera House isvery good because it goes into great detail abouthow to treat the Opera House from electric lightsswitches, to handles, to treatments of differentsurfaces (how to clean them etc.) and it isnecessary as part of the whole picture, tocontemplate all of these things. I had a letterfrom a person in Australia who said he wasamazed and that he had never before seen abuilding 25 years old which was maintained sowell. This was very nice for me to hear.

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THE SPACE WITHINOne thing is important to remember, the OperaHouse, like any other building, is like a bottle -you can fill it with so much water but you cannotfill more water into the bottle than the spacewithin.

So it is not a good idea to try and fit more roomsinside the building. If more space is needed, itshould not be squeezed into some of the openspaces in the building or below the building, butthe functions should be moved somewhere elsein the city. I’m sure that there are many functionstoday, which, with the modern technologicalequipment that we have, might just as easily beplaced elsewhere.

For instance many of the theatres andperformance houses around Europe and theUnited States have outgrown their envelope andthey have taken the consequences of this, andhired or built facilities elsewhere.

For instance for stage equipment, for all thelighting, for storage, for the workshops forrehearsal rooms and what have you, sucharrangements can be found everywhere in theworld, and I think, especially for the OperaHouse, it would be very bad for the house, andsubsequently for the area around the OperaHouse, if it was decided to fill too manyfunctions into the house, more functions that itcan hold.

It might still be possible to locate functionsunderground, under the eastern part of theForecourt. At the time of the construction of theOpera House, a large stormwater drain wasencountered under what was to become theplateau for the building. This drain then had apurpose, and might still be in use, and couldpose an obstacle to further expansionunderground.

For the purpose of defining the area(s) to bemodified in and around the building, it isnecessary to relate to drawings. The drawingsshould represent the existing layout andsituation, in plans, sections and elevations.

Some reference may be made to the drawingsfrom the original scheme (Utzon).

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Exterior photographs can be used to illustrateideas about signage and lighting etc.

This Design Brief does not present a number ofsolutions to specific design questions; these willbe developed at a later stage, but tries to givethe reader an idea of the architects work andworking method, in creating the drawings anddocuments necessary for building the uniqueand complex structure of the Sydney OperaHouse.

Perhaps the Design Brief could be left ‘open’, insuch a way that ideas and items from the pastand present can be added over a number ofyears, as long as I can continue to work with thiswonderful project in Sydney.

Jørn Utzon

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THE FUTURE02

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The approach of Jørn Utzon tochange of the Sydney Opera Houseis clearly stated in his letter to thechair of the Sydney Opera HouseTrust dated 19 August 2000.

Dear Mr Skryznski

“As the architect of the Sydney OperaHouse, as the creative force behind itscharacter, I sincerely believe that a largemultipurpose structure such as thisbuilding, in time will undergo manynatural changes.

The ideas as they were developed in thesixties, evolved as the result of theneeds and technique at the time.

As time passes and needs change, it isnatural to modify the building to suit theneeds and technique of the day.

The changes, however, should be suchthat the original character of thebuilding is maintained.

That is to say, I certainly condonechanges to the Sydney Opera House.Both changes due to generalmaintenance and changes done due tofunctional changes.

Had I completed the Sydney OperaHouse as the architect in charge, thebuilding would have developed andchanged with the time ever since.

I am certainly happy to have been askedto be a consultant to this development. Ihope that my role and involvement canbe a guidance to the decision makers atthe Sydney Opera House, in such a waythat the maintenance, the alterationsand the development can take place insuch a manner that my presence in theteam will assure that the character ofthe Sydney Opera House isemphasised.”

Sincerely yours,Jørn Utzon

2.1APPROACH

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The following quotations by JørnUtzon establish a clear set ofprinciples for managing the future ofthe Sydney Opera House.

These quotations have generallybeen drawn from part one of thisdocument or from privatetranscripts of recent discussionswith Jørn Utzon.

His comments are made in thecontext of his understanding of theHouse and its current and futureneeds.

Keep the approach, the openess andfluidity of movement

“One of the great features of the OperaHouse is the approach, the openness,the fluidity of people’s movementsthrough the house, and once you clutterthis you have a problem.” (1)

New structures close to Sydney OperaHouse diminish its role as icon/landmark

“One adverse effect could be fromplacing large new structures closer andcloser to the Opera House, therebydiminishing its value as an icon forSydney and Australia.” (2)

“If you clutter the new spaces aroundsuch a significant building then youobscure the building, and can obscure itto an extent that it no longer retains itsvalue in the city or its character... it willlose its importance as an icon or as alandmark for the city.” (1)

New structures placed close to theSydney Opera House will diminish itsvalue as an icon by disturbing its chiefcharacteristics of being free in thecentre of Sydney Harbour. (1)

Need to take a long-term view

There is a need to take a long-term viewof important sites. (1)

2.2PRINCIPLES

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Forecourt should not be cluttered

“Forecourt should not be cluttered withnew buildings at any size.” (1)

Accommodate new approach and backof house for events under Forecourt

“It might still be possible to locatefunctions underground under theeastern part of the forecourt.” (2)

“If needed some functions could besunk below the forecourt level, in such away as to be accessible from theforecourt, but without disturbing thevisual impact of the original layout.” (1)

“...an approach from the undergroundparking in the Botanical Garden couldemerge via an opening in or near theTarpian wall. Facilities like dressingrooms or rooms for temporary cateringfor activities in the forecourt could beplaced under the forecourt surface

Access from carpark through a hole inthe forecourt. Space couldaccommodate back of house andstorage for outdoor events. (4)

Solidity of base is important

“If you open the sides of the base tocreate day-light... then suddenly thebase becomes an office building, andthat will reduce drastically the dramaticexpression of the Opera House.” (1)

Danger in too many functions - buildinghas limited size

“But the inherent danger in largebuildings, which have become popular,is that there is a tendency to want to filltoo many functions and rooms intothose buildings.” (2)

“It is not a good idea to fit more roomsinside the building... more functionsthan it can hold.” (2)

Relocate non-essential functions

“If more space is needed, I’m sure thatthere are many functions today, whichwith the modern technologicalequipment that we have, might just aseasily be placed elsewhere.” (2)

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Concourse was intended as foyer

The idea of the drop-off was that it wasa foyer “you could increase the overalllighting.” (4)

Under cover car drop-off is importantand should be kept. (4)

Future treatment of finishes

Refers to folded concrete beams ofconcourse:

“Some form of treatment of thesesurfaces as a whole or in parts will benecessary to conceal the defects andbring it up to a uniform and acceptablestandard.” (3)

Conservation Plan supported

The Conservation Plan:

“Is very good because it goes into greatdetail about how to treat the OperaHouse from electric lights switches, tohandles to treatments of differentsurfaces and it is necessary as part ofthe whole picture to contemplate all ofthese things.

Look back to past - some ideas mightbe viable, some outdated

“Whenever somebody wants to remodelsomething, re-furnish areas you couldlook back at the ideas that were beingdeveloped, some of these might beviable today or at the time when thechange is called for and some of themhave been outdated by the time that hasgone by as the evolution results in hightechnological advances.” (2)

Refers to furniture designed for SydneyOpera House:

“I must say we can now look at it withother eyes and it might be possible thatwe can use some of these systems.” (4)

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Care needed before change

“So I really advise the future decision-makers to carefully contemplate allaspects of the intended modificationsbefore changing the Opera House assuch.” (2)

Need to adjust to changing standards

“So what was good back in the 60’s wasokay then, but as people develop and asmusic develops, as our perception ofmusic and place develops, our demandsbecome higher and this developmentwill probably in the future change a lotof features of the Opera House simplybecause you need to adjust toinstruments, as such. (2)

Local history important

“Usually things that are constructedhave some sort of logical history andwhen this is known it is easier to takethe right decisions at any one time.” (2)

People with knowledge of the buildingimportant

“Concerning - the remodelling andmaintenance of the Opera House. I feelthere are a number of people who haveknown and followed this buildingthroughout its existence. I think it wouldbe a good idea to place in the hands ofthese people and their companies themaintenance and the possiblerenovations, as they know the OperaHouse intimately through their work onthe building. (2)

“Arups office is of course of keyimportance as they know where thingsare, what parts of the building can takecertain loads, what has been hung indifferent places, the way the walls,materials etc, which are important forthe total structure of the house havebeen constructed and applied. (2)

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Difficult to imagine everything beingchanged

“It seems that most people love thebuilding, and it is very difficult toimagine everything being changed, thatthe building should be closed down fora number of years, that work should goon at a construction site where nobodywould be able to use the Opera House.”(2)

Modifications made progressively

“I suggest that modifications can bemade as the questions and needsarise.” (2)

Can’t go back to ideas of 1960s - basedon different brief

“It would not be correct to go back tothe thoughts and ideas that were new inthe early 1960’s which were based on adifferent programme for the building.”(2)

Not viable to re-model whole buildingaccording to old plans

“I really don’t think it is a viable solutionto re-model the whole buildingaccording to the old plans.” (2)

Consider long-term costs

Refers to original edge tile detail notexecuted:

“This is an example of themisunderstood idea of saving and thenfinding out afterwards that it is a costinga lot of money in the long run”

Quotation references

1. Jørn Utzon, ‘Sydney Opera House,The Setting’ 5 May 2000

2. Jørn Utzon, ‘Sydney Opera House’ 4June 2000

3. Jørn Utzon, ‘Descriptive Narrative,Sydney Opera House’ January 1965

4. Jørn Utzon, Jan Utzon and RichardJohnson, ‘Private Records ofDiscussion’ Mallorca, April, October &November 1999

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DESIGNPRINCIPLES

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The production of a definitive statement of thefundamental principles underlying the design bythe original architect achieve the followingobjectives.

a) It is a permanent reference for theconservation of the building and will beincorporated into the conservation plan.

b) As part of the conservation plan it will be usedto manage any proposals for change.

All proposals will be reviewed in the context oftheir impact on the design principles and theconservation plan.

c) It will be used to clarify original design intentparticularly in the context of the manypublications, and comments by those who arenot authorised to speak on behalf of the originalarchitect.

d) It will be a prime document to influenceplanning controls for the precinct, to preserveviews, vistas, and approaches, and provide forfuture long-term improvements to the setting.

3.1 OBJECTIVES

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There are two principles that are fundamental tothe architecture of Jørn Utzon and set himdramatically apart from most of hiscontemporaries.

He draws inspiration from nature for organicform and creates an architecture that ispredominantly experiential in character.

The following quotations drawn predominantlyfrom part one of this document and from privatetranscripts of recent discussions elegantlyillustrate these fundamentals.

3.2FUNDAMENTAL PRINCIPLES

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Organic Beauty

“and in the roofs the large amount ofwhite tiles sub-divided into segments,are like the structure of a leaf which,with its ribs and infill, have an organicbeauty of it’s own.” (2)

Naval charts and headlands

“Another inspiration I got from seeingthe naval charts over Sydney, on whichwere shown the sandstone heads at theentrance to Sydney Harbour. Theseheads slope upward towards the gap,where they drop abruptly to the sea.”(2)

Nature’s colours

“I had what you would call nature’scolours on the exterior. That was thegeneral idea - concrete, granite andceramics.” (2)

Reflection of sunlight

“The citation from the Americanarchitect Louis Kahn: “the sun did notknow how beautiful it’s light was, until itwas reflected off this building.” (2)

Hall like cloud in sky

“The overall shape of the hall, a freeform hanging like a cloud in the sky.”(3)

Glass wall ribs like bird’s wings

“Approaching one will notice the bronzecovered vertical plywood mullionshanging as the folds of a birds wing.”(3)

Cross-section of nature’selements

“The geometry in the construction issuch that when you paint the differentparts in the colours shown in thedrawings, it would be as beautiful as...you see it in various cross sections ofnature’s elements-if you cut across anonion you see the different layers.”(2)

Early morning and sunset colour

“I had a marvellous painter friend andhe saw the morning sun, every morningand the evening sun at sunset. Thesemoments are short and in the openingsof my mind, I thought in a different waythan daily colour.” (3)

INSPIRATION FROM NATURE

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Emotional response, functionalism andhuman expression

“This happened at a time when thereigning functionalism had not yetyielded to the idea of giving buildings amore humane expression.” (2)

Objective is to bring joy

“The architects’ gift to society is tobring the people a big joy from thesurroundings that architects create.”(1)

Beautiful experience/oriented inHarbour

“...People have a beautiful experienceentering and walking up the stairs andentering the auditoria, while they are allthe time oriented in the beautifulharbour and have the views of thespectacular Sydney Harbour setting.”(2)

Succession of visual and audio stimuli,culminating with performance

“So going to the Opera House is asuccession of visual and audio stimuli,which increase in intensity as youapproach the building, as you enter andfinally sit down in the halls, culminatingwith the performance.” (2)

Being in another world

“The large staircase at the SydneyOpera House was made 100 metreswide and the plateau on top became avery important feature for the feeling ofbeing in another world.” (2)

“I also have had so many reactions themoment I put a foot on a staircase withsteps a hundred metres wide somethinghappens to you, something like climbinga mountain.” (4)

“This feeling of moving upwards was adetermining factor in the shaping of thelarge platform.” (2)

“The patrons will receive on their way tothe theatre halls an impression of restfuland dignified surroundings with agenerous spacious layout.” (3)

Concourse area should have awelcoming ambience with more lightand reduced glare.

Consideration of details like doors

“So if you open that butterfly door itopens, much faster than this door, it’sclosed but halfway, and then you openit, giving you a feeling of easier access.”(4)

“I am going to make a building, here youcame in and up the staircase, you are ina darkened room but the staircase isobvious for the staircase is well lit...aperiod passes and you came up and infront of you, you see a big tapestry by leCorbusier.” (4)

Festive mood

“As you enter the Minor or Major hallthis explodes into a very rich expressionof colours, which uplift you in thatfestive mood, away from daily life, thatyou expect when you go to the theatre,a play, an opera or a concert.” (2)

HUMAN EXPERIENCE

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Feeling detached form the city

“During intermission you remain aroundthe auditorium and can retain the feelingof being in another world.” (2)

“After the performance the bars andlounges will present for the patrons asecond opportunity to enjoy these viewsand will underline their feeling of beingdetached from the city in a world of itsown.” (3)

“As we move through the glass doorsand arrive at the foyer, we areintroduced to the back wall of the stage,reminding us of the purpose of ourvisit.” (3) 1

Ornamental curtain

The ornamental curtain for the Minorhall visible from the foyer will enable thepatron “during the approach to get thefeeling of what they will find inside.” (3)

At the cloak room level there is accessfor the performers.

Patrons/performers meeting

“Unlike the normal theatre, where oneliterally goes to the back door for socialintercourse, the patrons and performerscan mingle together in the cloakroomarea.” (3)

Role of colour optimistic

“When we meet for performance whenwe are together to be moved, in ourminds and in our soul and experiencewhat comes into our minds. Colourswould support that.” (4)

“The idea was to see a spectacularbuilding as you arrive and as you enterthe foyers you see additional colours.You also get a more intimate feeling.” (2)

“To give life to the skin and hair on thehuman form in much the same way asthe light from candles.” (3) 67

Lights in the W.C.’s and basin areas

“Give a uniform indirect light to therooms which can be dimmed just beforethe curtain goes up in the theatre.” (3)

Neutral and restful atmosphere

“The materials internally will serve tounderline the ideas in the planning ...andthese surroundings will give a neutraland restful atmosphere for the patronsas well as for the people working in thebuilding.” (3)

“The halls will form another world-amake believe atmosphere, which willexclude all outside impressions andallow the patrons to be absorbed intothe theatre mood.” (3)

“The Major hall was to be used forGrand Opera and concerts with anoptimistic, light colour scheme.” (2)

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Within the broad framework of drawinginspiration from nature and seeking anarchitecture that is experiential in character, a setof design principles specific to the Sydney OperaHouse can be identified.

The following principles are described inquotations by Utzon and illustrated whereappropriate.

THE BUILDING AS SYMBOL

THE BUILDING AS SCULPTURE

FORM AND FUNCTION

ORIENTATION AND MOVEMENT

COUNTERPOINT

ADDITIVE ARCHITECTURE- ELEMENTS- PRE-FABRICATION- GEOMETRY

STRUCTURAL EXPRESSION

MATERIALS

COLOUR

LIGHT

ACOUSTICS

3.3SYDNEY OPERA HOUSE DESIGN PRINCIPLES

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Cultural symbol

“Everyone was working hard to fulfil thewish of Premier Cahill to give amarvellous cultural centre to thecitizens of Sydney.” (2)

“The conception and the design of theSydney Opera House is based on... thedesire to create a building which willform a home for those activitiesessential to the cultural life of a bigcity.” (3)

Symbol of the Australian Spirit

“The Australian spirit is actuallymirrored in their creation of the SydneyOpera House: this could not have takenplace anywhere else in the world. It isthe drive behind the ‘We want to dothings our own way’. (1)

“The people of Sydney have made theOpera House a signature for Sydney,which you see everywhere in the worldin different editions...

...but nobody is ever in any doubt thatthis means Sydney and this meansAustralia.” (1) “In my opinion, a situationsuch as this, where a new building ishaving a great impact on a city is a veryrare thing.” (1)

Inspiration to artists

“When completed, the Sydney OperaHouse will serve as a home for thecultural activities of the city and willinspire artists and technicians topresent to the public the highest qualityperformance for many years to come.”(3)

THE BUILDING AS SYMBOL

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Iconic presence beingfree in Sydney Harbour

“The character which is most prominentabout the Opera House is it’s being freein the centre of the Sydney Harbour, freefrom all sides, visible from all sides.” (1)

“Helsingør and Sydney are in the samesituation where you have a distancebetween the city centre and thelandmark building.” (1)

“...I happened to live near the castle ofKronborg, situated in a similar positionwith similar surrounding between twocoasts of Denmark and Sweden.” (2)

Large sculptural building seen from allsides

“With Kronborg in mind I was convincedthat a new building in such a position asto be seen from all sides, had to be alarge sculptural building.” (2)

Sculpture in contrast to surroundingbuildings

“The position on a peninsula, which isoverlooked from all angles makes itimportant to maintain an all-roundelevation...the building must form a free-standing sculpture in contrast to thesquare buildings surrounding it.” (3)

Sculpture captures and mirrors the sky

“It is important that such a large whitesculpture in the harbour setting catchesand mirrors the sky with all its variedlights, dawn to dusk, day to day,throughout the year.” (2)

THE BUILDINGAS SCULPTURE

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Sculpture of dynamic forms

“In this way very sculptural shapes werearranged side by side, so one gets avaried picture of the complex, accordingto which way you move around in oraround the structure.” (2)

“The patron or tourist will see the shellsfrom below as an expanse of curvedwall changing constantly.” (3)

Experiences

Referring to ascending the staircase:

“Then you see only the tops of theshells you look into the sky then youcome up, and more and more you readthe shells and it’s a very beautiful thingyou don’t have skyscrapers on the otherside.” (4)

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Functional concept of base and shells

“The separation between the twocomponents (base and shells) is alsodictated by the functional conception.”(3)

“The mechanical parts of the theatreand the patrons areas, where they canmove about freely without any stageinterfering with or even being aware ofthe existence of the other part.”

“Within its mass (the plateau), couldhouse all the facilities for preparing theperformances with stage sets etc.”

“The audience and the performanceitself, all taking place on top of theplateau.” (2)

Possibilities for all types of culturalperformances

“The Sydney Opera House with its threetheatre stages offers a possibility for alllevels of cultural performances. Thereare only a few houses in the wholeworld which are similarly designed.” (3)

Plateau 12 metres to House stage set

“The plateau was made 12 metres highso it was possible to have the full stageheight below the stage-level, forarranging the sets prior to their beingsent to the stage.” (2)

Plateau functions as meeting place andauditorium

“This plateau also functions as agathering place, a town square andoutdoor auditorium.” (2)

“Another source of inspiration I got froman early visit to the Yucatan Peninsula inMexico.

When they build their temples, there areoften placed on large platforms withwide stairs leading to the top of thejungle canopy.” (2)

FORM AND FUNCTION

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Shell follows height of various functions

“The foyer, the auditoria, the stages andstage towers were solved by coveringthese functions with large concreteshells, which follow the height of thevarious functions.” (2)

Acoustic shape determined by soundand how audience would see it

“The acoustical shape was absolutelyclear, both in sound and in the way thatyou would observe it as an audience.”

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Oriented in harbour setting

“People approaching, walking up thestairs and entering the auditoria are allthe time oriented in the beautifulharbour.” (1)

Simple, easily understood tour

“In the Sydney Opera House you areaware of your orientation at all times. Itis important that each number of theaudience has a simple, easilyunderstood tour, from the entrance tohis or her seat and out again.” (2)10

“All problems regarding fire and firestaircases are solved in a similarcomprehensive manner.” (2)

Entrances face city

“Two halls, placed side by side, to avoidthe necessity of passing one hall to getto the other. Both entrances are facingMacquarie Street and the city.” (2), (3)

Outdoor auditoria with city backdrop

“This outdoor auditorium created by thegrand staircase is of course part of thetownscape and is also very dependentupon what goes on elsewhere in thecity. Because as you sit on these stairsyou look towards the city, and you havethe city and its buildings as abackground to whatever happens on theforecourt.” (1)

Ornamental curtain defines separationof stage and auditorium

“For the Minor Hall, the ornamentalcurtain for the stage is rolled verticallyin a large glass cylinder, which can beseen from the foyer. This way thepatrons will be able to actually see theseparation between the stage and theauditorium.” (3)

ORIENTATIONAND MOVEMENT

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Hall shape oriented to stage

“The halls acoustically had a shape thatwas oriented towards the stage.” (2)

“The layout of the halls consists of aseries of radial sections all fanning outfrom a focal point in the stage area.” (3)

Approach, openess, fluidity of peoples’movement

“One of the great features of the OperaHouse is the approach, the openness,the fluidity of people’s movementthrough the house.” (1)

Succession of visual and audio stimuli

“So going to the Opera House is asuccession of visual and audio stimuli,which increase in intensity as youapproach the building, as you enter andfinally sit down in the halls, culminatingwith the performance.” (2)

Podium headland influence

Referring to Sydney Sandstoneheadlands:

“Where you walk uphill as you approachthe sea to the edge of an escarpmentfalling away to the beach and sea below.As you approach the edge you look upinto the empty sky, and only at the verylast moment are you able to get amagnificent view of the sea.” (2)

Human experience

“As in large cathedrals the Opera Houseis functional in the sense that peoplehave a beautiful experience entering andwalking up the stairs and entering theauditoria.” (2)

Imaginary tour

“In order to fully appreciate the outsideappearance of the building as well asthe materials and the reasons forselecting them, it is proposed toundertake an imaginary tour around thestructure as completed.” (3)

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Walk in open up to entering auditoria

“The ideal way of approach and exitwould be by ferry.” (3)

“For patrons arriving on foot, it ispossible to walk in the open right up tothe moment they will enter the foyers ofthe Auditoria.” (3)

“It is very important that the audiencedoes not enter and walk through thebuilding along dark corridors to a darkhall.” (2)

“We now pass beyond the back stagewall around the stage proper and upflights of stairs to the Major Hall and tofilter back into the hall itself.” (3)

Spacious car access

“For those arriving by car, there will be aspacious area under the concourse with6 driving lanes. The patrons will bedischarged on to the curb under coverto the 4-stair access leading into thebuilding.” (3)

Disabled access

“For patrons unable to walk, there willbe provided special elevators to takethem direct to the auditorium level in thevicinity of the seating.” (3)

“A total of ten lifts will service the OperaHouse, each lift being carefully locatedfor a specific purpose. Lift No.1 withlandings at the 12’, 30’ and 42’ levelshas a primary function of transportingdisabled persons from ground floor levelto the auditorium level. (Major Hall).” (3)

“Lift No.2 in the stage area (Minor Hall)has the primary function of carrying atotal of 16 disabled persons fromground level to auditorium level withone intermediate stop.” (3)

Flow of corridors reflect movement

“Aesthetically we get the flow of thecorridors reflected in the rhythm of themovement of the elements.” (3)

“Here again, we see the architectsphilosophy and if humans circulatearound a building through corridors, soalso your services do the same thing,and instead of making a door accessfrom a corridor to a room for humansonly and a separate hole pierced in awall for access of services. The door isextended above the functional height forhumans to accommodate the services.”(3)

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COUNTERPOINT Building and surroundings

“It is the interplay between the buildingand its surroundings... that isimportant.” (1)

Contrast white with brick and tilestructures

“Keep it white”, because the Harbour(surrounding buildings) is dark, with allits dark, red or brown brick structures.”(2)

Sculpture and square buildings

“The building must form a free-standingsculpture in contrast to the squarebuildings surrounding it.” (3)

Plateau and shells

Counterpoint between the plateau andthe roof is strong. The heavy mass ofthe plateau and the light sculptural roof.(2)

Heavy and light

“The difference in character of the twocomponents forming the building, themassive and imposing base, and thelight and graceful shells on top of it...”(3)

Referring to the paving:

“...its uniformity with the cladding willhelp to give the rock-like characterdesired for the base, as a contrast andanchor to the soaring roofs.” (3)

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Matt and gloss

The precast granite elements are needlehammered to give a slightly mattsurface in contrast with the shiny rooftiles. (3)

Neutral and rich colours

Exterior colours were nature’s colours.Within this landscape you had the hallswhich were to be richly decorated infestive colours. (2)

Open and closed

“As you walk around the foyer you havethe full unimpeded view of the SydneyHarbour. You get a fantastic feeling ofopenness and space after being insidethe auditoria. (2)

Exterior shells and acoustic shells

“The acoustic shells were free of thecovering roof - the shells.” (2)

Dark and light

“Minor Hall was programmed fortheatrical productions which require arelatively dark or subdued colourscheme and the Major Hall was to beused for Grand Opera and concerts withan optimistic, lighter colour scheme.” (2)

“The theatre darker and warm theconcert hall more cold and lightplywood.” (4)

Outside and inside

“Each rehearsal room is treated in thesame way as the hall, that is, we havethe structure withholding the outsideelements and inside we have acomplete box to retain the soundsproduced internally.” (3)

Building and furniture

Referring to plywood panels surroundthe whole of the stage tower:

“This emphasises the stage tower asbeing part of the machinery a piece offurniture placed under the shell.” (3)

Concrete and ply

“The walls will show the concrete as itwas constructed, contrasting with themoulded plywood panels which form thecomponents of the furniture andfixings.” (3)

“The cubicles themselves for coats andtoilets are made of moulded plywoodpanels in contrast to the impression ofseverity left by the structure.” (3)

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ADDITIVE ARCHITECTURE -ELEMENTS

Expression of elements, producedindustrially

“The exteriors of the building stand asan expression for something basic inthe concept - the idea of dividing thevarious parts up into equal components,which can be produced industrially andafterwards put together to form astructure of the desired form.” (3)

Shells sub-divided into ribs

Referring to spherical geometry:

“Now the shells could be sub-dividedinto ribs, which again could be dividedinto smaller elements, which could becast within formwork representing thelargest rib-entity.” (2 )

More richly varied

“Where the elements that are decoratedin a certain way when put together givemuch more richly varied surfacestructure than would be if it had been asimple smooth surface.” (2)

Reference to nature

“Or you see it in various cross sectionsof nature’s elements - if you cut acrossan onion you see the different layers.”(2)

Geometry

“The wall cladding elements arenominally 4’ wide and of varying lengthsto 30’... over doors, windows andventilation openings, there are specialelements forming hoods for sun andweather protection. There are othervariations of the basic element typeforming sills, jambs, parapets, and stairbalustrades.” (3)

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Same form - harmony and uniformity

“These dimensions are important... keptthe same throughout all plywoodelements used in the buildings, givingthe necessary uniformity and harmony.”(3)

Colour in harmony geometric concept

“In the plateau, the ceiling of structuralribs are shaped so they elegantlyexpress the forces with the structure.They express the harmony in thestructure.” (2)

“By using this same form we haveharmony and uniformity throughoutgiving the intrinsic whole to thebuilding.” (3)

“The plywood construction will bedecorated according to an idea whichwill bring the changing colours intoharmony with the geometrical concept.”(3)

Harmony/uniformity giving intrinsicwhole to building

“We can see the use of the same toolsfor the forming of the curves butextended or reduced as required toobtain the physical size of the panel. Byusing this same form we have harmonyand uniformity throughout giving theintrinsic whole to the building.” (3)

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ADDITIVE ARCHITECTURE -PRE-FABRICATION

Machine-made components basic inconcept

“The exteriors of the building stand asan expression for something basic inthe concept... in other words the use ofmachine made components in thebuilding industry.” (3)

Concept in control of machine

“As he works with a machine that hasno intrinsic thinking capacity, he mustdevise a manufacturing process for themachine.” (3)

Modular coordination/ standardisation

“According to our way of working theglass panels were to be of equal size,facilitating production.” (2)

“We must find the machines to makeour components and devise somemeans to put these elements togetheronly limited to the size and weight ofour mechanical age to erect them.” (3)

Practical limits (size and weight)commercially produced dimensions

Referring to ply cubicles, ply beams,over rehearsal rooms, ply panels incorridors, canopy part of glass walls:

“Therefore a system was developedwhich made it possible to make all theglass walls within a certain module andwith glazing panels in commerciallyproduced dimensions.” (3)

“The cubicles themselves for coats andtoilets are made of moulded plywoodpanels...the form of the individualcubicles is within the scope of themaximum and minimum capabilities ofmanufactured moulded plywoodpanels.” (3)

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ADDITIVE ARCHITECTURE -GEOMETRY

Common geometric determinator

“Initially, no definitive geometry for theshells had been established but, aswork progressed, the shells weredeveloped according to a sphericalgeometry and we suddenly had acommon denominator, the samespherical surface to deal with, with asimilar curvature throughout.” (2)

Under control by strict geometry

“...the only way to attack the ...majorparts of the building would be to bringthem under control by a strict geometryand then divide them into uniformcomponents, which can be produced bymachine under strict control both asregards dimensions and quality.” (3)

Surfaces comprehended because ofgeometric order

“All large surfaces are easily read orcomprehended because of thegeometric order.” (2)

Simple living geometric forms

“The shapes of the shells give thebuilding its character, which isemphasised by the fine lines definingthe form of the curvature as the seamsin a billowing sail.”

“...from these viewpoints (broadwalk)the lines will assist his appreciation ofthe simple, yet living geometrical formswhich otherwise might escape hiscomprehension.” (3)

Layout of halls based on strictgeometric system

“Like the other components - the shells,the glass walls etc. - the layout of thehalls is based on a strict geometricalsystem. The layout consists of a seriesof radial sections all fanning out from afocal point in the stage area.” (3)

“On the northern glass walls the sweepsare controlled by the geometry of anintersecting cone-system.” (3)

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Opens possibility for mass production

Referring to spherical geometry:

“Was an elegant solution to aconstruction, which would otherwisehave had to be done with a largeamount of scaffolding and shuttering,both for the interior and exterior shapeof the shells.” (2)

Pre-fabrication

“The clearly defined geometry of the hallopens the possibility for producing allthe components in mass-production”.(3)

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Geometry opens possibilities for massproduction

“The ceiling is suspended from the roofstructure in the middle but instead ofusing straight infilling panels as in Majorhall, the Minor Hall ceiling is made ofplywood panels moulded to a standardcurvature, a part of a cylinder with aconstant radius this construction lendsitself equally well to prefabrication.” (3)

“The clearly defined geometry of the hallopens the possibility for producing allthe components in mass-production, inother words, the whole hall can bemanufactured in small units to pre-determined tolerances and beassembled afterwards inside thebuilding like a 3-dimensional jigsawpuzzle.” (3)

Referring to Minor Hall:

“The furniture for the Minor Hall will bedesigned on the same basis as for theMajor Hall so as to take maximumadvantage of the prefabrication.” (3)

“This construction lends itself equallywell to prefabrication, since one mouldwill be able to produce all the panels tothe required length.” (3)

Referring to plywood panels to corridorwalls:

“These panels are approximately 16inches wide returning around a 2 inchradius approximately 5 inches. Thesedimensions are important, as they arethe limit of the manufacturing process,which is kept the same throughout allplywood elements used in the building.Giving the necessary uniformity andharmony.” (3)

Referring to ply corridor lining:

“Thus mass manufacturing productionof simple elements gives an economicalsolution providing the requiredaesthetics and with ease of access formaintenance.” (3)

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STRUCTURAL EXPRESSION Structural expression and architecture

“The Architecture with the ribs is muchmore expressive than if the shells hadbeen cast in-situ, with the resulting flatconstructed surfaces.” (2)

“The top surface of the shells is coveredwith a weatherproof membrane, a seriesof precast panels matching the ribsegments and covered with whiteglazed tiles.” (3)

“By sub-dividing of the tile surface intoglossy tile lids, with matte tiles at theedges. I achieved my aim, to have thestructure expressing the architectureand vice-versa. You find a similarsituation in Gothic cathedrals.” (2)

“The Sydney Opera House has the sameambience as large cathedrals.” (1)1

“You find a similar situation in GothicCathedrals, where the structure is alsothe architecture. The same is seen inChinese and Islamic architecture,although with different expressions.” (2)

Plateau beams express forces

“This effect was also developed for thebase or plateau...as I wanted an openarea with a ceiling of structural ribs.These ribs are shaped so they elegantlyexpress the forces within the structure.”(2)

Sculptural effect

“The soffit of the podium will form thefirst impression of the building from thisapproach. This surface... shows themarked sculptural effect of the concretefolded beams spanning 165’.” (3)

Spans expressed by ribs and folds

“This resulted in a building where allspans are clearly expressed by ribs andfolds.” (2)

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Exposing materials

Referring to the patrons’ way to thehalls:

“Exposing all the time the carefullyselected materials, which it is built of.”(3)

Acquire patina without changingcharacter

Referring to external materials:

“All the materials are non-corrosive,weather resistant, durable and will ageand acquire a patina without changingtheir character. Thereby preserving thecharacter of the whole building throughthe ages.” (3)

Weathering

Referring to the finish on precast granitepanels:

“A process of needlehammering iscarried out, giving a slightly mattsurface which should also have theadvantage of weathering evenly.” (3)

Materials define geometric concept

“The concrete stands with on even andprecise surface and the sharp andstraight edges clearly define thegeometric concept.” (3)

“We can see through the glass to theunderside of the concrete ribs of thefirst shell... finished in smooth concretewith sharp arrises, emphasising thetowering form of the high shell andrequiring no further treatment ormaintenance.” (3)

Retain visual quality

Regarding tiles:

“This gave a surface which had abeautiful lustre or sheen, a surface thatwould retain its visual quality even whenthe tile became dirty.” (2)

Natural materials

“...the raw tile is painted with a sauce orslick of the same material, is fired andoverlaid with a glassy, transparent glazebefore it is fired the final time.” (2)

Natural colours and modular

“The walls will be covered wholly or inpart by modular sized moulded plywoodpanels, finished in the natural colour ofthe wood.” (3)

Simplicity in number of materials

“The finish on paving steps and skirtingis identical with the finish on thecladding. It is a fine non-slip anddurable finish entirely suitable forpedestrians and traffic...” (3)

Materials serve to underline ideas inplanning

“As in the exteriors, the materialsinternally will serve to underline theideas in the planning.” (3)

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COLOUR Natures colours

“In my project for the Sydney OperaHouse I had what you would callnature’s colours on the exterior”

That was the general idea-concrete,granite and ceramics. (2)

White shell as contrast

Refers to the shell colour:

“Keep it white because the Harbour(surrounding buildings) is dark, with allits dark red or brown brick structures.”

Colour reinforcing human spatialexperience, movement

“So you have a culmination of space, ofcolours when you are at the meetingplace between the performers and theaudience. So going to the Opera Houseis a succession of visual and audiostimuli.” (2)

“The idea was to see a spectacularbuilding as you arrive and as you enterthe foyers you see additional colours.You also get a more intimate feeling.” (2)

“As you enter the Minor or Major Hallthis explodes into a very rich expressionof colours, which uplift you in thatfestive mood, away from daily life, thatyou expect when you go to the theatre,a play, an opera or concert.” (2)

Counterpoint major/minor inside out

“The theatre darker and warm, theconcert hall more cold and lightplywood.” (4)

Lighting compatible precinct

“The Major Hall was to be used forGrand Opera and concerts with anoptimistic, light colour scheme.” (2)

“The Minor hall was programmedprimarily for theatrical productions,which require a relatively dark orsubdued colour scheme for theauditorium.” (2)

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Colour in transition different from dailycolour

“These moments are short (earlymorning and sunset) and in theopenings of my mind, I thought in adifferent way than the daily colour andwhen we meet for performances we aretogether to be moved in our minds andin our soul and experience what comesinto our minds. And these colours wouldsupport that, and it would be oriental.”(4)

Referring to Chinese art:

“Look here, these kinds of colours arevery different from outside, only insideyou have it in the caves and in thetemples colours which are always onthe edge of being cream to yellow andred to orange.” (4)

“The Chinese Buddhists paintings,here’s one that gives me a feeling ofwhat it would be like to be inside thetheatre. There is also the tradition inEurope of red velvet seats at thatperiod.” (4)

Colour expressed geometryand function

Referring to painting different parts ofgeometry of construction:

“If you cut across an onion you see thedifferent layers-it’s the colours whichagain leads your thoughts back to thecomplete item, in the same manner ofexpression when the elements that onedecorated in a certain way when puttogether give more richly varied surfacestructure than would have been if it hadbeen a simple smooth surfacethroughout with a single flat colour.” (2)

Practical glare

“I agree (white outdoor furniture iswrong because only the sails should bewhite). Because white is no good foroutdoor furniture as my eyes can’ttolerate white when I eat.” (4)

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LIGHT White sculpture - catches the sky’svaried light

“It is important that such a large whitesculpture in the harbour setting catchesand mirrors the sky with all its variedlights, dawn to dusk, day to day,throughout the year.” (2)

Light to accentuate architectural form

“You can light a sphere in such a waythat you accentuate its form, or you canlight it so it will appear to be flat.” (4)

Flood light through experimentation

“It is proposed to flood light theshells...successful flood lighting canonly be achieved throughexperimentation on the surfacesconcerned.” (3)

Light to flatter human form of skin andhair

“To give life to the skin and hair on thehuman form in much the same way asthe light from candles.” (3)

Generally indirect with custom designedfittings

Referring to public and working areas:

“Lighting in these areas will be generallyof an indirect nature although there willbe situations where specially designeddirect lighting fittings will be necessary.”(3)

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Sculptural effect accentuated by light

“Here, the soffit of the podium will formthe first impression of the building fromthis approach, this surface emphasisedby lighting, shows the marked sculpturaleffect of the concrete folded beams.” (3)

Concealed handrail lights

“The podium and podium steps will belit through a system of lights concealedin the handrails.” (3)

Referring to roadway under podium:

“A special system of low level lightinghas been developed which will producea safe and attractive system of lightingto enable the mixing of pedestrians andvehicles.” (3)

Lighting compatible precinct

Referring to Major Hall:

“the broadwalk lighting of necessitymust be compatible with the lighting inapproach roads.” (3)

“Fittings for indirect lighting will beplaced in the ceiling.” (3)

“Light fittings for Auditoria andRehearsal Rooms must be of necessitydesigned in close collaboration with theacoustical engineers.” (3)

Minimise reflections/ maximise view

“Before lighting in the public loungesand bars can be finalised experimentsmust be carried out to ensure thatinternal lighting reflections on the glasswalls do not destroy the night view ofthe harbour.” (3)

Concealed fittings - wall panels

Referring to bar and lounge areas:

“The walls will be covered wholly or inpart by modular sized moulded,plywood panels, finished in the naturalcolour of the wood. The panels arestopped short of the ceilings and thefloors, where they form a continuousfitting for concealed lights.” (3)

Lights integrated module of panels

Referring to toilet areas:

“The 3” gap between the ceiling andwall elements are partly for ventilationand partly for lighting. Light tubes arefixed above, giving a uniform indirectlight to the rooms which can be dimmedjust before the curtain goes up in thetheatre.” (3)

Referring to corridor lighting:

“By the use of a dark colour above theslats and high intensity of lightingbetween the slats combined with theirdepth one will not normally be able tosee any of the services above.” (3)

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ACOUSTICS Two purposes - exclude noise/reflectsound

Referring to the overall shape of thehall:

“The walls and ceilings serve twopurposes, namely: -

a) to exclude all noise fromthe outside

b) to reflect the sound fromthe orchestra. (3)

Acoustic shape clear both in sound andin the way you would observe it

“The acoustical shape was absolutelyclear, both in sound and in the way youwould observe it as an audience.” (2)

Halls oriented toward stage

“The halls acoustically had a shape thatwas oriented towards the stage.” (2)

Person in back row should have asgood a sound reception as in front

“Ideally the person at the back rowshould have as good a sound receptionand impression of what goes on thestage as the person sitting 10 rows backfrom the stage.” (2)36

Multi-purpose

“The hall serves several functions, as aconcert hall it will hold 2800 people withthe musicians (110) positioned in thefore-stage area and with a plywoodsound reflecting shell above. This shellcan be dismantled, and stored awaywhen not in use.” (3)

Ideal not to adjust sound

“That the ideal concert hall is a hall,which is shaped in such a way that youdo not have to adjust the sound withabsorbents. By doing so you kill offsome of the sound energy, whereas ifyou retain the brilliance you have muchmore sound energy travelling to theaudience.” (2)

Like violin - evolution toward perfection

Referring to the concert hall:

“It is like a violin - it has its shapebecause of its long evolution and it hasattained that shape, through evolutiontowards perfection...” (2)

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Relationship sound and plywood length

“So rather than changing the acousticsby absorbing certain unwanted soundsor frequencies it is better to adjust thephysical shape of the hall in such a waythat you achieve the perfect acousticalproperties.” (2) .

Box within structure principle

“The sound reflecting effect is achievedby using large unsupported membranesof plywood which have proved superiorto the conventional small size panelssince the latter do not reflect thedeepest notes from orchestralinstruments.” (3)

Advanced plywood technology

“It therefore eliminates any convectednoises through the building and allowsthe ceiling to reverberate in harmonywith the sound produced within theroom. It can be seen then, acousticallythese light long spanning elements areideal...moulded to the shapes requiredby the geometry, and laminated withalmost any material to obtain thedesired density for sound absorptionand reverberations.” (3)

Each rehearsal room is treated in thesame way as the hall, that is, we havethe structure withholding the outsideelements such as rain and sound etc.and inside we have a complete box toretain the sounds produced internally.”(3)

Referring to the Major Hall:

“The sound dampening effect will beachieved partly by the weight of thetrusses or ceiling panels themselves,increased if necessary by laminations oflead, and also by filling in the openspace between the sheets with mineralwool or other sound deadening material.(3)

Movable ply screens and acousticscreens for flexibility

Referring to reducing the stage openingwhen hall is used for Opera:

“...Sight-lines for some of the seats ineach side of the hall will be impeded.These seats will therefore be cut off bymeans of plywood screens rising fromthe floor to a certain height, at the sametime serving acoustically as a soundreflecting screen.” (3)

“For the purpose of congress, theforemost part of the stage area can bebrought into use of seating and the hallwill seat more than 3000 people. In thiscase, the acoustical screen used forsymphony

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Jørn Utzon’s process of designintegrating drawings, modelsamples, prototypes, materialsresearch and close collaborationwith manufacturers is central to ourunderstanding of his work.

The following quotations illustratethis point.

One solution dependant on another

“This solution (the tiling) was againdepending upon the solution of how toconstruct the shells themselves. So aswas often the case, one solution wasdepending upon the other and vice-versa.” (2)

Lateral approach - harmonious building

“Whenever an obstacle wasencountered we often had to changetack completely to find another way tosolve the problems.” (2)

“The fact that the engineers and wewere open for new possibilities, eventhough that meant rejecting the oldsolutions, was instrumental in makingthis a noble and harmonious buildingwith a very forceful architecturalexpression.” (2)

Design and construction in parallel

“...so construction began at the buildingsite a long time before we hadcompleted the drawings, andconstruction drawings were beingproduced just ahead of construction asthe building grew.” (2)

“We made the working drawings justahead of the actual construction goingon at the building site so thereforedevelopment was not very far ahead ofwhat was actually going on at the site atany one time.” (2)

Background of ship building

“I of course had the marvellous thingthat we had the shipyard adjacent... Yousee big ships being built with the ribsetc. In the shipyard small men made onebig steam ship every six months andyou would see the whole process.” (4)

Referring to the major events in themanufacturing of the mullions

“Cutting the layers to shape and placingthem after the architect’s set-outdrawings-an operation similar to thetechnique used on a shipyard.” (3)

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Research into capacity of machine

“The architect therefore has researchedinto the maximum capabilities foreconomical reasons of factoryproduction and having found the scopeof minimum and maximum capacity ofthe machine, he works within thisdiscipline.” (3)

Materials research

“Even very well known materials havebeen subject to several years of specialresearch before the architect wassatisfied that the resulting product wasthe best possible for its use.” (3)

Full-size mock-ups - as both design andconstruction tool

“These concrete/granite elements wereproduced as prefabricated elementsafter a full size mock-up had beenmade, with various openings presentedso that everything could be checkedbefore final decisions were made. Thisis again an example of the importanceof the full sized mock-up as a tool fordetermining the best solution for thebuilding.” (2)

Models

“The planning comprises even thesmallest detail and is carried out in anunorthodox manner, where themaximum use of models and prototypessecures that nothing is introduced intothe scheme, before it has been carefullyinvestigated and has proved to be theright solution to the problem.” (3)

Mock-up to solve problems

Referring to hall interiors

“...we need to make full-scale models ofparts of this structure to ensure that theproposed details and colours arecorrect.” (2)

“It was impossible to determine thegeometry of the tiling until full-sizemock-ups had been made.” (2)

“Mock-ups were important tools which,together with the drawings, enabled usto solve specific problems.”

“For instance the first mock-up for thetiling clearly showed that our initialsolution did not work.” (2)

“We arrived at the various solutions forcorners, materials, details and colours,through a combination of drawings,models, samples and mock-up, alwaystrying to select the finest solutions forthis building and for my client.” (2)

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Work in collaboration with manufacturer

Referring to wall cladding:

“These construction and finishingtechniques were developed incollaboration with a manufacturer over aperiod of 18 months and involved thepreparation of many samples and theconstruction of full size mock-ups,before a result suitable to the rigorousrequirements of the architect could beachieved.” (3)

Referring to glass walls...

“...mock-ups of vital connections anddetails have been and one still beingproduced in cooperation with specialistmanufacturers.” (3)

Running in period

Referring to Major Hall:

“The main shape will be fully tested in amodel and necessary variations inrespect of surface reflection can laterbe made by changing the surfacematerials during the 6-months running-in period after the completion.” (3)

“...these lights will be installed incarefully selected places based onknowledge gleaned from experimentalwork.” (3)

Experimentation

“Successful flood lighting can only beachieved through experimentation onthe surface concerned.” (3)

Quotation references

1. Jørn Utzon, ‘Sydney Opera House,The Setting’ 5 May 2000

2. Jørn Utzon, ‘Sydney Opera House’ 4June 2000

3. Jørn Utzon, ‘Descriptive Narrative,Sydney Opera House’ January 1965

4. Jørn Utzon, Jan Utzon and RichardJohnson, ‘Private Records ofDiscussion’ Mallorca, April, October &November 1999

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List of Illustrations 1 Sketch to accompany Opera House Competition Scheme, Jørn Utzon

2 Clouds over the sea, Jørn Utzon, illustration for 1962 essay, Platforms and Plateaus, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

3 Preliminary sketch for the vaults of the SOH, Jørn Utzon, illustration for 1962 essay, Platforms and Plateaus, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

4 Sketch of Japanese House, Jørn Utzon, illustration for 1962 essay, Platforms and Plateaus, ‘‘Zodiac No. 14’, Mitchell Library, State Library of NSW

5 Castle of Kronborg, photo: Living Architecture, Fribourg

6 Bennelong Point, 1956, photo: Max Dupain,

7 Mayan Temple, Chichen, photo: Living Architecture, Fribourg

8 NSW Coastline, photo: Tourism NSW

9 Dancing on The House, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

10 Concert Hall Plan, 1956, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW.

11 Upper Floor Plan, Minor Hall, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW.

12 View of Works, October, 1962 , photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

13 Monumental steps, presentation model, 1964, photo: Max Dupain

14 Auditorium, presentation model, 1964, photo: Max Dupain

15 Exterior, Sydney Opera House, 1993, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

16 Longitudinal Section through Major Hall and Plan of Shells, Major Hall, Jørn Utzon, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

17 Exterior, Sydney Opera House, 1989, Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

18 Henry Ingham Ashworth, Prof of Architecture University of Sydney, with Jørn Utzon at Hellbaek, Sept. 1960, photo: Mitchell Library, State Library of NSW

19 Illustration from brochure, tilemaking firm Hoganas AB

20 Illustration from brochure, tilemaking firm Hoganas AB

21 Axonometric view of major hall roof under construction, Ove Arup & Partners,

22 Model of shell roof ribs and Manufacturing of pre-fabricated shell-rib segments, 1965, photos: ‘ZodiacNo. 14’, Mitchell Library, State Library of NSW

23 Concept sketch of Shells, 1958, Jørn Utzon, Red Book, Mitchell Library, State Library of NSW Frontispiece

24 Presentation model of spherical solution : Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

25 View of work site, 1964 photo: Max Dupain

26 West elevation, 1965 photo: Max Dupain (Alternative in SOH coll)

27 Start of tile lid installation, photo: Max Dupain,

28 Illustration from brochure, tilemaking firm Hoganas AB

29 Detail of Roof Tiles, 1994, photo: Anthony Browell , Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

30 Vault Cladding, detail, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

31 Under The Grand Staircase, photo: Max Dupain

32 Roof Shells, Southern View, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

33 Podium steps, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

34 Aerial photograph of Sydney Harbour, 1995, photo: Department of Land & Water Conservation

35 Section Demonstrating The Geometrical Principle, Major Hall, Jørn Utzon, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

36 Work on the Grand Staircase and the Platform, autumn 1962, photo: Max Dupain

37 View of Sydney Opera House, photo: Osamu Murai

38 Study to illustrate Design Principle - ‘Cross Section of Nature’s Elements’, photo: Jørn Utzon

39 Model of Auditorium, photo: Max Dupain,

40 Partial Elevation, North-facing Glass Wall, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW.

41 Horizontal Sections of a Mullion (top) and Breakdown of the Glass Walls Into Standard Units, 1964, Jørn Utzon, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

42 Colour Study for Decoration of Auditorium, Jørn Utzon

43 Colour Study for Decoration of Auditorium, Jørn Utzon

44 Geometric Principles for Acoustical Reflectors, Minor Hall, Jørn Utzon: Zodiac No. 14, Mitchell Library, State Library of NSW

45 Study to illustrate Design Principle - ‘Cross Section of Nature’s Elements’, photo: Jørn Utzon

46 Study to illustrate Design Principle - ‘Cross Section of Nature’s Elements’, photo: Jørn Utzon

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47 Site Plan, Jørn Utzon : Plans of SOH, Oct 1958-1973 State Records NSW

48 Sydney Opera House, evening, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

49 Sydney Symphony Orchestra members and Sydney Opera House, photo: Sydney Symphony Orchestra

50 New Year’s Eve, 1999, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

51 Aerial view, Sydney Opera House, photo: NSW Department of Public Works

52 Panoramic View of the site at the time of Utzon’s Departure, 1966, photo,: Max Dupain

53 Vault Cladding, detail, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

54 Sculptural Form, Roof Shells, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

55 East elevation and Concert Plan, 1956, Jørn Utzon, Competition Entry, Yellow Book, Mitchell Library, State Library of NSW.

56 Aerial view, Opening of SOH, 20 October 1973, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

57 Longitudinal Section, Major Hall with Timber Ceiling, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW.

58 Presentation model, Concourse view, 1964, photo: Max Dupain

59 Opera House On Bennelong Point, photo: David Moore

60 Sectional model of Major Hall, 1965, photo: Max Dupain

61 Upper Floor Plan, Major Hall, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW

62 Sydney Opera House on Bennelong Point, photo: Max Dupain

63 Clouds over the sea, Jørn Utzon, illustration for 1962 essay, Platforms and Plateaus, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

64 Preliminary sketch of vaults of the SOH, Jørn Utzon, illustration for 1962 essay, Platforms and Plateaus, ‘Zodiac No. 14’, Mitchell Library, State Library of NSW

65 Detail of Roof Tiles, 1994, photo: Anthony Browell : Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

66 Longitudinal Section, Major Hall with Timber Ceiling, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW

67 Precast Spheroidal lid element principles of the vaults, Jørn Utzon, Yellow Book, Mitchell Library, State Library of NSW

68 A partially-tiled vault, photo: Max Dupain

69 Storage of pre-fabricated tile lids, 1964, photo: Max Dupain, Zodiac No. 14, Mitchell Library, State Library of NSW

70 Panel types, photo: Max Dupain, Zodiac No. 14, Mitchell Library, State Library of NSW

71 Geometric Principles for Acoustical Reflectors, Minor Hall, Jørn Utzon, Zodiac No. 14, Mitchell Library, State Library of NSW

72 Geometric Principles for Acoustical Reflectors, Minor Hall, Jørn Utzon, Zodiac No. 14, Mitchell Library, State Library of NSW

73 Final shell geometry, 1961,Jørn Utzon, Yellow Book, cover, Mitchell Library, State Library of NSW

74 Presentation model of spherical solution, Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

75 Presentation model of spherical solution, Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

76 Presentation model of spherical solution, Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

77 View of work site, 1964, photo: Max Dupain

78 Corridor mockup, photo: Max Dupain, Zodiac No. 14, Mitchell Library, State Library of NSW

79 Diagram illustrating Corridor Ceiling System, Zodiac No. 14, Mitchell Library, State Library of NSW

80 Diagram illustrating Corridor Ceiling System, Zodiac No. 14, Mitchell Library, State Library of NSW

81 Diagram illustrating Corridor Ceiling System, Zodiac No. 14, Mitchell Library, State Library of NSW

82 Above the Tiers, 1965, photo: Max Dupain

83 Details of tile-lids, Ove Arup & Partners

84 Work on the platform, 1962, photo: Max Dupain

85 Vault Cladding, detail, photo: Dennis Wolanski Archive of the SOH, Sydney Opera House Trust

86 Section, Major Hall, July 1964, Jørn Utzon, Plans of SOH, Oct 1958-1973 State Records NSW

87 Samples and prototypes of the cladding fabricated in granite chip by Concrete Industries, photo: Mitchell Library, State Library of NSW

88 Minor Hall, wooden model of the solid volumes, photo: Max Dupain

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