Sydney Opera House

Sydney Opera House is a multi-venue performing arts centre on Bennelong Point in Sydney, New South Wales, Australia. It was conceived and largely built by Danish architect Jørn Utzon, who, in 2003, received the Pritzker Prize, architecture's highest honour.Sydney Morning Herald - his death The citation stated:

Sydney Opera House was made a UNESCO World Heritage Site on 28 June 2007. Currently, it is the most recently constructed World Heritage Site to be designated as such, sharing this distinction with such ancient landmarks as Stonehenge and the Giza Necropolis. It is one of the 20th century's most distinctive buildings and one of the most famous performing arts centres in the world.

Sydney Opera House is situated on Bennelong Point in Sydney Harbour, close to the Sydney Harbour Bridge. It sits at the northeastern tip of the Sydney central business district (the CBD), surrounded on three sides by the harbour ( Sydney Cove and Farm Cove) and neighboured by the Royal Botanic Gardens.

Contrary to its name, the building houses six venues. The two largest venues, the Opera Theatre and Concert Hall, are housed in the two larger sets of shells. Three smaller theatres, the Drama Theatre, Playhouse and Studio are situated on the western side of the building, and the Utzon Room on the eastern side.

The award winning Guillaume at Bennelong restaurant occupies the smaller set of shells. A seventh performance space, The Forecourt, is regularly used for free community events and large scale outdoor performances.

As one of the busiest performing arts centres in the world, providing over 1,500 performances each year attended by some 1.2 million people, Sydney Opera House promotes and supports many performing arts companies including the four key resident companies Opera Australia, The Australian Ballet, Sydney Theatre Company and Sydney Symphony. Sydney Opera House also presents more than 700 of its own performances annually that offer an eclectic mix of artistic and cultural activities for all ages from the educational to the experimental. It is also one of the most popular visitor attractions in Australia, with more than 7 million people visiting the site each year.

Sydney Opera House is administered by the Sydney Opera House Trust, under the New South Wales Ministry of the Arts.

Description

Sydney Opera House is a modern expressionist design, with a series of large precast concrete "shells",Shells of the Sydney Opera House, The Royal Society of New South Wales each composed of sections of a hemisphere of the same radius, forming the roofs of the structure, set on a monumental podium. The building covers 1.8 hectares (4.5 acres) of land and is 183 metres (605 ft) long and 120 metres (388 ft) wide at its widest point. It is supported on 588 concrete piers sunk as much as 25 metres below sea level.

The roofs of the House are covered in a subtle chevron pattern with 1,056,006 glossy white- and matte-cream-colored Swedish-made tiles from Höganäs AB, though, from a distance, the shells appear a uniform white.

The Concert Hall is located within the western group of shells, the Opera Theatre within the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas and up to the high stage towers. The smaller venues, Drama Theatre, Playhouse, and The Studio are located beneath the Concert Hall. A smaller group of shells set to one side of the Monumental Steps houses the Bennelong Restaurant. Although the roof structures of the Sydney Opera House are commonly referred to as "shells" (as they are in this article), they are in fact not shells in a strictly structural sense, but are instead precast concrete panels supported by precast concrete ribs.

Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried in Tarana. Significant interior surface treatments also include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, and brush box glulam.

Performance venues and facilities

The Opera House houses the following performance venues:

• The Concert Hall, with 2,678 seats, is the home of the Sydney Symphony and used by a large number of other concert presenters. It contains the Sydney Opera House Grand Organ, the largest mechanical tracker action organ in the world, with over 10,000 pipes.
• The Opera Theatre, a proscenium theatre with 1,507 seats, is the Sydney home of Opera Australia and The Australian Ballet.
• The Drama Theatre, a proscenium theatre with 544 seats, is used by the Sydney Theatre Company and other dance and theatrical presenters.
• The Playhouse, an end-stage theatre with 398 seats.
• The Studio, a flexible space with a maximum capacity of 400 people, depending on configuration.
• The Utzon Room, a small multi-purpose venue, seating up to 210.
• The Forecourt, a flexible open-air venue with a wide range of configuration options, including the possibility of utilising the Monumental Steps as audience seating, used for a range of community events and major outdoor performances.

Other areas (for example the northern and western foyers) are also used for performances on an occasional basis. Venues at the Sydney Opera House are also used for conferences, ceremonies, and social functions. The building also houses a recording studio, cafes, restaurants and bars and retail outlets. A daily backstage tour take visitors backstage to see areas normally reserved for perfomers and crew members, and The Essential Tour, which departs every half hour between 9am and 5pm tells the story of how the building came into existence against impossible odds.

Construction history

Origins

Planning for the Sydney Opera House began in the late 1940s, when Eugene Goossens, the Director of the NSW State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of NSW Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site for the Opera House. Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the CBD. http://www.sydneyarchitecture.com/ROC/QUA01.htm

A design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3000 and a small hall for 1200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances and other presentations.

The winner, announced in 1957, was Jørn Utzon, a Danish architect. The prize was £5,000Eric Ellis interview with Utzon in the Sydney Morning Herald Good Weekend, 31 October 1992, http://www.ericellis.com/utzon.htm Retrieved 2 December 2008. Utzon visited Sydney in 1957 to help supervise the project. His office moved to Sydney in February 1963.

Design and construction

The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958, and formal construction of the Opera House began in March, 1959. The project was built in three stages. Stage I (1959–1963) consisted of building the upper podium. Stage II (1963–1967) saw the construction of the outer shells. Stage III (1967–1973) consisted of the interior design and construction.

Stage I: Podium

Stage I commenced on March 2, 1959 by the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners.Sydney Architecture Retrieved 1 November, 2008 The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind, mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.

Stage II: Roof

The shells of the competition entry were originally of undefined geometry,Arup, Ove and Zunz, G.J.: Article in Structural Engineer Volume 47, March 1969 but, early in the design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using in-situ concrete would have been prohibitively expensive, but, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.

From 1957 to 1963, the design team went through at least twelve iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, in order to understand the complex forces to which the shells would be subjected.Jones, Peter: Ove Arup: Masterbuilder of the Twentieth Century. Yale University Press, 2006. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mold, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions."page 199 Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise eureka moment ...; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."

He goes on to claim that "the existing evidence shows that Arup's canvassed several possibilities for the geometry of the shells, from parabolas to ellipsoids and spheres." Yuzo Mikami, a member of the design team, presents an opposite view in his book on the project, Utzon's Sphere.Mikami, Yuzo: Utzon's Sphere, Tokyo: Shoku Kusha. 2001. It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible for the Opera House project) all played a very significant part in the design development.

As Peter Murray states in The Saga of the Sydney Opera HouseMurray, P: The Saga of the Sydney Opera House, 2004, Spon Press (UK), ISBN 0415325218:

The shells were constructed by Hornibrook Group Pty LtdBilfinger Berger corporate history, who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes. The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units (it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height). Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.

Stage III: Interiors

Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. This ultimately led to Utzon's resignation in 1966 (see below).

The cost of the project so far, even in October 1966, was still only $22.9 millionSydney Architecture, retrieved 1 December 2008 , less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.

The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.

Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design only allowed for 2000 seats in the main hall and further stated that increasing the number of seats to 3000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards."page203

Significant changes to Utzon's design

• The major hall, which was originally to be a multipurpose opera/concert hall, became solely a concert hall, called the Concert Hall. The minor hall, originally for stage productions only, had the added function of opera and ballet to deal with and is called the Opera Theatre. As a result, the Opera Theatre is inadequate to stage large-scale opera and ballet. A theatre, a cinema and a library were also added. These were later changed to two live drama theatres and a smaller theatre "in the round". These now comprise the Drama Theatre, the Playhouse, and the Studio, respectively. These changes were primarily because of inadequacies in the original competition brief, which did not make it adequately clear how the Opera House was to be used. The layout of the interiors was changed, and the stage machinery, already designed and fitted inside the major hall, was pulled out and largely thrown away.
• Externally, the cladding to the podium and the paving (the podium was originally not to be clad down to the water, but to be left open).
• The construction of the glass walls (Utzon was planning to use a system of prefabricated plywood mullions, but a different system was designed to deal with the glass).
• Utzon's plywood corridor designs, and his acoustic and seating designs for the interior of both major halls, were scrapped completely. His design for the Concert Hall was rejected as it only seated 2000, which was considered insufficient. Utzon employed the acoustic consultant Lothar Cremer, and his designs for the major halls were later modelled and found to be very good. The subsequent Todd, Hall and Littlemore versions of both major halls have some problems with acoustics, particularly for the performing musicians. The orchestra pit in the Opera Theatre is cramped and dangerous to musicians' hearing. The Concert Hall has a very high roof, leading to a lack of early reflections onstage— perspex rings (the "acoustic clouds") hanging over the stage were added shortly before opening in an (unsuccessful) attempt to address this problem.

Completion and cost

The Opera House was formally completed in 1973, having cost $102 million.New South Wales Government, Department of Commerce, http://www.records.nsw.gov.au/archives/archives_in_brief_28_1492.asp Accessed 1 December, 2008 H.R. "Sam" Hoare, the Hornibrook director in charge of the project, provided the following approximations in 1973: Stage I: podium Civil & Civic Pty Ltd approximately $5.5m. Stage II: roof shells M.R. Hornibrook (NSW) Pty Ltd approximately $12.5m. Stage III: completion The Hornibrook Group $56.5m. Separate contracts: stage equipment, stage lighting and organ $9.0m. Fees and other costs $16.5m.

The original cost estimate in 1957 was £3,500,000 ($7 million). The original completion date set by the government was 26 January 1963 ( Australia Day).ref Thus, the project was completed ten years late and over-budget by more than fourteen times.

Jørn Utzon and his resignation

Before the Sydney Opera House competition, Jørn Utzon had won seven of the eighteen competitions he had entered but had never seen any of his designs built.page174 Utzon's submitted concept for the Sydney Opera House was almost universally admired and considered groundbreaking. The Assessors Report of January 1957, stated:

For the first stage of the project, Utzon worked very successfully with the rest of the design team and the client, but, as the project progressed, the Cahill government insisted on progressive revisions. They also did not fully appreciate the costs or work involved in design and construction. Tensions between the client and the design team grew further when an early start to construction was demanded despite an incomplete design. This resulted in a continuing series of delays and setbacks while various technical engineering issues were being refined. The building was unique, and the problems with the design issues and cost increases were exacerbated by commencement of work before the completion of the final plans.

After the election of Robert Askin as premier of New South Wales in 1965, the relationship of client, architect, engineers and contractors became increasingly tense. Askin had been a "vocal critic of the project prior to gaining office."Farrelly, Elizabeth, 'High noon at Bennelong Point' in Canberra Times, http://www.canberratimes.com.au/news/national/national/general/high-noon-at-bennelong-point/1374056.aspx?storypage=0, Accessed 1 December, 2008

His new Minister for Public Works, Davis Hughes, was even less sympathetic. Elizabeth Farrelly, Australian architecture critic, has written that:

Differences ensued. One of the first was that Utzon believed the clients should receive information on all aspects of the design and construction through his practice, while the clients wanted a system (notably drawn in sketch form by Davis Hughes) where architect, contractors, and engineers each reported to the client directly and separately. This had great implications for procurement methods and cost control, with Utzon wishing to negotiate contracts with chosen suppliers (such as Ralph Symonds for the plywood interiors) and the New South Wales government insisting contracts be put out to tender.

Utzon was highly reluctant to respond to questions or criticism from the client's Sydney Opera House Executive Committee (SOHEC).page 191 However, he was greatly supported throughout by a member of the committee and one of the original competition judges, Professor Harry Ingham Ashworth. Utzon was unwilling to compromise on some aspects of his designs that the clients wanted to change.

Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attempted to portray Utzon as an impractical dreamer. Ove Arup actually stated that Utzon was "probably the best of any I have come across in my long experience of working with architects"page 209 and:

In October 1965, Utzon gave Hughes a schedule setting out the completion dates of parts of his work for stage III. Utzon was at this time working closely with Ralph Symonds, a manufacturer of plywood based in Sydney and highly regarded by many, despite an Arup engineer warning that Ralph Symonds's "knowledge of the design stresses of plywood, was extremely sketchy" and that the technical advice was "elementary to say the least and completely useless for our purposes." Australian architecture critic Elizabeth Farrelly has referred to Ove Arup's project engineer Michael Lewis as having "other agendas". In any case, Hughes shortly after withheld permission for the construction of plywood prototypes for the interiors, and the relationship between Utzon and the client never recovered. By February 1966, Utzon was owed more than $100,000 in feeshttp://www.canberratimes.com.au/news/national/national/general/high-noon-at-bennelong-point/1374056.aspx?storypage=0. Hughes then withheld funding so that Utzon could not even pay his own staff. The government minutes record that following several threats of resignation, Utzon finally stated to Davis Hughes: "If you don't do it, I resign." Hughes replied: "I accept your resignation. Thank you very much. Goodbye."page224

Utzon left the project on 28 February 1966. He said that Hughes's refusal to pay Utzon any fees and the lack of collaboration caused his resignation and later famously described the situation as "Malice in Blunderland". In March 1966, Hughes offered him a subordinate role as "design architect" under a panel of executive architects, without any supervisory powers over the House's construction, but Utzon rejected this.

Following the resignation, there was great controversy about who was in the right and who was in the wrong. The Sydney Morning Herald initially reported: "No architect in the world has enjoyed greater freedom than Mr Utzon. Few clients have been more patient or more generous than the people and the Government of NSW. One would not like history to record that this partnership was brought to an end by a fit of temper on the one side or by a fit of meanness on the other." On 17 March 1966, it reported:page 228 "It was not his fault that a succession of Governments and the Opera House Trust should so signally have failed to impose any control or order on the project .... his concept was so daring that he himself could solve its problems only step by step .... his insistence on perfection led him to alter his design as he went along."

Yet, in an article in Harvard Design Magazine in 2005 http://flyvbjerg.plan.aau.dk/HARVARDDESIGN63PRINT.pdf, professor Bent Flyvbjerg notes that Utzon fell victim to a politically lowballed construction budget, which eventually resulted in a cost overrun of 1,400 percent. The overrun and the ensuing scandal that it created kept Utzon from building more masterpieces. This, according to Flyvbjerg, is the real cost of the Sydney Opera House:

The Sydney Opera House opened the way for the immensely complex geometries of some modern architecture. The design was one of the first examples of the use of computer analysis to design complex shapes. The design techniques developed by Utzon and Arup for the Sydney Opera House have been further developed and are now used for architecture, such as works of Gehry and blobitecture, as well as most reinforced concrete structures. The design is also one of the first in the world to use araldite to glue the precast structural elements together and proved the concept for future use.

The Opera House was also a first in mechanical engineering. Another Danish firm, Steensen Varming, was responsible for designing the new air-conditioning plant, the largest in Australia at the time, supplying over of air per minute Sunday Mail, 9 April 1972, using the innovative idea of harnessing the harbour water to create a water-cooled heat pump system that is still in operation today. A. Building a masterpiece 2006

Opening

The Opera House was formally opened by Elizabeth II, Queen of Australia, on 20 October 1973, with a large crowd in attendance. The architect, Jørn Utzon, was not invited to the ceremony, nor was his name mentioned. The opening was televised and included fireworks and a performance of Beethoven's Symphony No. 9.

Prior to the opening, a number of performances had already taken place in the finished building:

• The first opera performed was Sergei Prokofiev's War and Peace, in the Opera Theatre on 28 September (conducted by the Australian Opera's Music Director, Edward Downes).
• The first solo piano recital was in the Concert Hall on 10 April, played by Romola Costantino to an invited audienceThe Wolanski Foundation.
• The first public concert in the Concert Hall took place on 29 September. It was an all-Wagner concert performed by the Sydney Symphony, conducted by Charles Mackerras and with Birgit Nilsson as the soprano soloist.

After the opening:

• The first lieder recital was given by Birgit Nilsson on 6 October, accompanied by Geoffrey ParsonsWagner Society in NSW Inc: Birgit Nilsson.
• The first violin and piano recital was given by Wanda Wiłkomirska, also with Geoffrey Parsons.Interview with Wanda Wilkomirska

During the construction of the Opera House, a number of lunchtime performances were arranged for the workers, with Paul Robeson the first artist to perform at the (unfinished) Opera House in 1960.

Reconciliation with Utzon

Beginning in the late 1990s, the Sydney Opera House Trust began to communicate with Jørn Utzon in an attempt to effect a reconciliation and to secure his involvement in future changes to the building. In 1999, he was appointed by the Trust as a design consultant for future work. In 2004, the first interior space rebuilt to an Utzon design was opened, and renamed "The Utzon Room" in his honour. In April 2007, he proposed a major reconstruction of the Opera Theatre. Utzon died on 29 November 2008.

A state memorial service, attended by Utzon's son Jan and daughter Lin, celebrating the creative genius of Jørn Utzon was held in the Sydney Opera House Concert Hall on 25 March 2009 featuring performances, readings and recollections from prominent figures in the Australian performing arts scene.

On Tuesday 17 November 2009, Sydney Opera House officially opened the refurbished Western Foyers and Accessibility improvements, the largest building project completed since Jørn Utzon was re-enagaged in 1999. Designed by Utzon and his son Jan, in collaboration with Richard Johnson of Johnson Pilton Walker, the project has transformed the Western Foyers into a stylish and functional space providing patrons with additional amenities including new ticketing, toilet and cloaking facilities. Importantly, new escalators and a public lift have vastly improved access for less mobile visitors, people with a disability and families with prams.

On the same day, Louise Sauvage OAM was announced as Sydney Opera House's inaugural Accessibility Ambassador. In this role Louise Sauvage will provide advice on the implementation of Sydney Opera House's Access Strategic Plan with a view to further improving access for people with disabilities.

Inspiration for new works

In 1993, Constantine Koukias was commissioned by the Sydney Opera House Trust in association with REM Theatre to compose Icon, a large-scale music theatre piece for the 20th anniversary of the Sydney Opera House.

10th anniversary of the Message Sticks Festival

thumb|Opera House during second Sound and Light Festival 2009 The 2009 Message Sticks Indigenous Film Festival, which was also its 10th anniversary, was held at the Sydney Opera House. Its curators were Darren Dale and Rachel Perkins.

See also

• Australian Landmarks
• List of official openings by Elizabeth II in Australia
• Wonders of the World
• Auditorio de Tenerife

References

Further reading

• Hubble, Ava, The Strange Case of Eugene Goossens and Other Tales from The Opera House, Collins Publishers, Australia, 1988. (Ava Hubble was Press Officer for the Sydney Opera House for 15 years.)
• Duek-Cohen, Elias, Utzon and the Sydney Opera House, Morgan Publications, Sydney, 1967–1998. (A small publication intended to gather public opinion to bring Utzon back to the project.)
• Stuber, Fritz, "Sydney's Opera House — Not a World Heritage Item? — Open letter to the Hon. John W. Howard, Prime Minister", in: Australian Planner (Sydney), Vol. 35, No. 3, 1998 (p. 116); Architecture + Design (New Delhi), Vol. XV, No. 5, 1998 (pp. 12–14); Collage (Berne), No. 3, 1998, (pp. 33–34, 1 ill.).
• Opera House an architectural "tragedy", ABC News Online, 28 April 2005.
• Flyvbjerg, Bent, "Design by Deception: The Politics of Megaproject Approval", Harvard Design Magazine, Volume 22, 2005.
• Watson, Anne (editor), "Building a Masterpiece: The Sydney Opera House", Lund Humphries, 2006, ISBN 0853319413, ISBN 978-0853319412.

External links

• Official website
• World heritage listing for Sydney Opera House
• Photographs of the construction
• Wolanski Foundation's annotated list of sources on Sydney Opera House
• Interview with Utzon, October 1992

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