Sydney Opera House

SYDNEY
OPERA
HOUSE
UTZON
DESIGN
PRINCIPLES
May 2002
CONTENTS
INTRODUCTION
1.0THEVISION
1.1THESYDNEYOPERAHOUSE
2.0THEFUTURE
2.1APPROACH
2.2PRINCIPLES
3.0DESIGNPRINCIPLES
3.1OBJECTIVES
3.2FUNDAMENTALPRINCIPLES
3.3SYDNEYOPERAHOUSEDESIGNPRINCIPLES
3.4PROCESS
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INTRODUCTION
Since being completed twenty-five years ago,
the Sydney Opera House has become an
international icon, instantly recognisable to
people all around the world.
It is one of the worlds great buildings of the
twentieth century and a living testament to the
creative mind of its architect, Jrn Utzon.
The Sydney Opera House Trust has decided to
embark on a long-term program aimed at
achieving two significant objectives.
The first is to safeguard the Sydney Opera
House and its site for the benefit of future
generations.
The second is to address the current
effectiveness of the buildings function as a
contemporary performing arts centre.
In establishing these two objectives, we are
mindful that they must be achieved within the
design principles established by Utzon.
The challenge now facing the Trust is to
safeguard the integrity of Jrn Utzons vision,
whilst assessing the functions of the building to
ensure that it can continue to perform as the
world-class performing arts centre that Utzon
intended it to be.
Extract from Media Release 1 September 1998
by the Chairman of the Sydney Opera House
Trust Mr. Joseph Skrzynski.
ThisdocumentpreparedbyJrnUtzonoutlines
hisvisionforthebuildinganditssettingandhis
commentsonthefuture.Itisthefirstcritical
stepintheprocessofestablishingalong-term
planfortheSydneyOperaHouse.
Itisintendedasapermanentreferenceforthe
conservationofthebuildinganditssetting.Itcan
beusedtoclarifyoriginaldesignintent,to
manageproposalsforchangeandinfluence
planningcontrolsfortheprecinct.
Thedocumentisstructuredintothreeparts.Part
onecontainsarecenttextwrittenbyJrnUtzon,
describinghisvisionforthebuilding.Parttwo
outlinesUtzon'sapproachtothefutureofthe
building,andPartthreeliststhefundamental
principlesunderlyingthedesigns.
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01THEVISION
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1.1THESYDNEYOPERAHOUSE
UTZONDOCUMENT,DATED4JUNE2000
TheprogrammeforthenewOperaHousein
SydneywassouniquethatIfeltIsimplyhadto
participate.Thisprogrammehadallanarchitect
couldwishfor.Ithadafantasticsite,witha
beautifulanddemandingpositiononBennelong
Point.
Thiscausedmetostartontheproject
immediatelyasIhappenedtolivenearthecastle
ofKronborg,situatedinasimilarpositionwith
similarsurroundingsbetweenthetwocoastsof
DenmarkandSweden,withthetownof
HelsingrononesideandthatofHlsingborgof
theother.
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WithKronborginmindIwasconvincedthata
newbuildinginsuchapositionastobeseen
fromallsides,hadtobealargesculptural
building.
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AnotherinspirationIgotfromseeingthenaval
chartsoverSydney,onwhichwereshownthe
sandstoneheadsattheentrancetoSydney
Harbour.Theseheadsslopeupwardstothe
Gap,wheretheydropabruptlytothesea.
ThesamefeatureisoftenseeninDenmark,ona
smallerscale,whereyouwalkuphillasyou
approachtheseatotheedgeofanescarpment
fallingawaytothebeachandseabelow.Asyou
approachtheedgeyoulookupintotheempty
skyandonlyattheverylastmomentareyou
abletogetamagnificentviewofthesea.
Thisfeelingofmovingupwards,wasa
determiningfactorintheshapingofthelarge
platformorplateau,which,withinitsmass,could
houseallthefacilitiesforpreparingthe
performanceswithstagesetsetc.Ontopofthis
plateautheaudienceshouldmeetthe
performers.Inthisway,theappreciationofthe
man-madeperformancelandscapewouldbe
verystrong.Theaudienceandtheperformance
itself,alltakingplaceontopoftheplateau,
shouldbecoveredwithalightsculpturalroof,
emphasisingtheheavymassoftheplateau
below.
Toemphasisethemassoftheplateauinrelation
tothesea(harbour)andtothewhiteroof-shells,
itisveryimportantthattheexteriorofthe
plateauremainswithasfewandassmall
openingsinitssides,aspossible.Iftheplateau
isperforatedbymanywindowsitwillchange
characterandwillsoonhavetheappearanceof
anofficebuildingwithanunbalancedwhite
structureontop.
AnothersourceofinspirationIgotfromanearly
visittotheYucatanPeninsulainMexico.The
YucatanPeninsulaisflatwithajunglevegetation
ofapproximately8metresinheight.Inthisjungle
livedtheMayanPeople.Whentheybuildtheir
temples,theseareoftenplacedonalarge
platformwithwidestairsleadingtothetopofthe
junglecanopy.Fromhereyouhavealimitless
viewoftheexpanseofjungle,likealargeplain.
Onthisplatformthetempleswerebuilt.
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Thefeelingyouhavewhenyousitononeof
thesegrandstaircasesinMexicoisafeelingof
liberationfromdailylife.BecauseIhadseenthis,
thelargestaircaseattheSydneyOperaHouse
wasmade100metreswideandtheplateauon
topbecameaveryimportantfeatureforthe
feelingofbeinginanotherworld.Thisplateau
alsofunctionsasagatheringplace,atown
squareandoutdoorauditorium.
Onefunctionalproblemarisingfromthesizeof
thesitewasthatitwasimpossibletoplacethe
largewingsorside-stagesatthesamelevelas
thestageitself.Thereforethesewereplaced
below,intheplateau,anarrangementalsoseen
inafewothertheatresinthe1960s.
Fromherethesetsweretransportedtothe
stagewithlargeelevators,arrangedina
paternostersystem,providingacontinuousup
anddownwardsmovementofthesetsforthe
smoothoperationofthestageinthelarge
auditoriumorMajorHall.FortheMinorHallthere
weretwosetsofelevators,onesetinthe
revolvingstageandonesetbehindthat.
Thebaseorplateauwasmade12metreshigh,
soitwaspossibletohavethefullstageheight
belowthestage-level,forarrangingthesetsprior
totheirbeingsenttothestage.Becauseofthis
arrangementitwaspossibletoplacethetwo
hallsalongsideoneanotherandreceivethe
audienceviaagrandstaircase.
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Whenyouenterthebuildingyoupassaround
thestagetowerstoentertheauditoriafromthe
sides.Duringintermissionyouremainaroundthe
auditoriumandcanretainthefeelingofbeingin
anotherworld.
Itisveryimportantthattheaudiencedoesnot
enter,andwalkthroughthebuildingalongdark
corridorstoadarkhall.
IntheSydneyOperaHouseyouareawareof
yourorientationatalltimes.Itisimportantthat
eachmemberoftheaudiencehasasimple,
easilyunderstoodtour,fromtheentrancetohis
orherseatandoutagain.
Allproblemsregardingegressincaseoffireand
firestaircasesaresolvedinasimilar
comprehensiblemanner.
Thusthehousecouldfunctionaccordingtothe
competitionprogramme.
ThemajoritemsintheprogrammewereaMajor
Hallforoperaandconcerts,asmallerMinorHall
fortheatreandaChamberMusicHallorroom.
Thequestionofhowtocoverthefoyer,the
auditoria,thestagesandstage-towerswas
solvedbycoveringthesefunctionswithlarge
concreteshells,whichfollowtheheightofthe
variousfunctions.
Inthiswayverysculpturalshapeswerearranged
sidebyside,soonegetsavariedpictureofthe
complex,accordingtowhichwayyoumovein
oraroundthestructure.
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Allpartsplaytogetherinarichvariationof
shapes,theexactfeelingIenjoyedfromseeing
mynativeKronborg.
Iftheworkinproducingthebaseandarranging
allthefunctionsinthislowerpartofthebuilding
hadbeenaverydifficultone,theworkregarding
theremainderofthisbuildingwasnolessso.
Wheneveranobstaclewasencounteredwe
oftenhadtochangetackcompletelytofind
anotherwaytosolvetheproblems.This
happenedalotoftimes.
Itwasunlikemakinganyotherbuilding.A
paralleltotheautomobileindustrywouldbe,not
todevelopandproduceanothercar-model,but
rathertodevelopthefirstlunarlandingmodule.
Forinstanceinthecaseoftheexteriorcladding
oftheshells,itwasimpossibletodeterminethe
geometryofthetiling,untilfullsizemock-ups
hadbeenmade.
Wemadefull-scalemock-upsormodels,which
wereimportanttools,which,togetherwiththe
drawings,enabledustosolvespecificproblems.
Forinstancethefirstmockupofthetilingclearly
showedthatourinitialsolutiondidnotwork.
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Thiscausedustorethinktheproblemand
eventuallycomeupwithasolution,which
resultedinthetiledelementscoveringthe
exterioroftheshellstoday.
Thissolutionwasagaindependinguponthe
solutionofhowtoconstructtheshells
themselves.Soaswasoftenthecase,one
solutionwasdependinguponothersandvice-
versa.
Initially,nodefinitegeometryfortheshellshad
beenestablished,but,asworkprogressed,the
shellsweredevelopedaccordingtoaspherical
geometryandwesuddenlyhadacommon
denominator,thesamesphericalsurfacetodeal
with,withasimilarcurvaturethroughout.
Thiswasanelegantsolutiontoaconstruction,
whichwouldotherwisehavehadtobedonewith
alargeamountofscaffoldingandshuttering,
bothfortheinteriorandexteriorshapeofthe
shells.
Nowtheshellscouldbesub-dividedintoribs,
whichagaincouldbedividedintosmaller
elements,whichcouldbecastwithinformwork
representingthelargestrib-entity.Thusitwas
possibletopre-casttheconcrete-shellsin
smallerpiecesandassemblethesepieceson
location.
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Theelementswereerectedbyveryadvanced
methodsandjoinedbypost-tensioningto
completetheshells,puttingthemtogetheras
buildingblocks.
Thisagaingavewayforaverylogicalandorderly
geometryforthetilelidsthatweretocoverthe
entiresurfaceoftheshells.
Thetileswereamajoriteminthebuilding.Itis
importantthatsuchalarge,whitesculpturein
theharboursettingcatchesandmirrorsthesky
withallitsvariedlightsdawntodusk,daytoday,
throughouttheyear.
ThecitationfromtheAmericanarchitectLouis
Kahn:Thesundidnotknowhowbeautifulits
lightwas,untilitwasreflectedoffthisbuilding,
describestheimportanceofthissurfaceandof
thedecisiontomakethesurfacewhite.
Oneofthejudges,EeroSaarinenwhowas
awareofthis,toldmeatonestage,afterthe
resultofthecompetitionwasmadepublic:keep
itwhite,becausetheHarbour(surrounding
buildings)isdark,withallitsdark,redorbrown
brick-structures.
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TodevelopthesetilesIworkedwithoneofthe
bestceramicfactoriesintheworld,Hgansin
Sweden.
TheHgansfactorygenerallyproduced
stonewaretilesforthepaper-millindustry.Inthe
paper-millstheboilingwaterwiththepulpis
channelledthroughhugeductslinedwiththis
typeofstonewaretile.Theductsarethen
flushedwithice-coldwaterfromtherivers.This
extremelyharshtreatmentputsanymaterial
throughatoughtest,anditwasthereforenatural
thatthepeoplewhocouldproducetiles,ableto
survivethistreatment,shouldbeinvolvedinthe
developmentofthetilesfortheSOH.
Thefactory,aftermanytrials,cameupwithtiles
madeaccordingtoacertaintechnique,where
therawtileispaintedwithasauceorslickofthe
samematerial,isfired,andoverlaidwitha
glossy,transparentglazebeforeitisfiredthefinal
time.
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Thisgaveasurface,whichhadabeautifullustre
orsheen,asurfacethatwouldretainitsvisual
qualitiesevenwhenthetilebecamedirty.A
normalceramictilewithanormalglazehasa
relativelydullsurface,asifitismadefromwhite
cardboard,andwhendirtyitcompletelylosesits
lustre.
Bysub-dividingthetilesurfaceintoglossytile
lids,withmattetilesattheedges,Iachievedmy
aim,tohavethestructureexpressingthe
architectureandvice-versa.Youfindasimilar
situationinGothicCathedrals,wherethe
structureisalsothearchitecture.Thesameis
seeninChineseandIslamicarchitecture,
althoughwithdifferentexpressions.The
architecturewiththeribsismuchmore
expressivethaniftheshellshadbeencastin-
situ,withtheresultingflatunstructuredsurfaces.
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Thiseffectwasalsodevelopedforthebaseor
plateau,wherewestructuredtheceilingabove
theaudienceintheaccessareas,inthefoyer
andintheconcourseareas.Itspanscompletely
withoutcolumns,asIwantedanopenareawith
aceilingofstructuralribs.Theseribsshapedso
theyelegantlyexpresstheforceswithinthe
structure.Theyexpresstheharmonyinthe
structure.
Thisresultedinabuildingwhereallspansare
clearlyexpressedbyribsandfolds.Soyouhave
ahousewhereallthelargesurfacesareeasily
readorcomprehendedbecauseofthe
geometricalorder,andintheroofsthelarge
amountofwhitetilessub-dividedintosegments,
arelikethestructureofaleafwhich,withitsribs
andinfill,haveanorganicbeautyofitsown.
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Theconcourseareaneedsmorelight,inorder
fortheareatohaveamorewelcoming
ambience.Itisrelativelydarkspace,duetothe
materialsusedandprimarilyduetothe
contrastingharshsunlightattheeasternand
westernsides.Onewaytoremedythisisto
raisethelightlevelintheareaartificially.Another
waycouldbetowhitewashtheconcrete
surfacesoftheceilingabovethearea.
Whitewashcanbecleanedoffagain,orapplied
insuchawaythatitdoesnotcamouflagethe
concretetexture.Trialsin`selectedareaswould
beneededtoestablishthecorrectprocedure.
Thebaseorplateauwascladinconcrete
elementswithanexposedgraniteaggregate,
whichgavethebaseabrownishsand-like
colour,asitwasnotpossibletohavesuchlarge
amountsofnaturalstonecutfromthesame
quarryforthesurfacingofthebase.
Theseconcrete/graniteelementswereproduced
asprefabricatedelementsafterafullsizedmock
uphadbeenmade,withvariousopenings
presentedsothateverythingcouldbechecked
beforefinaldecisionsweremade.Thisisagain
anexampleoftheimportanceofthefullsized
mockupasatoolfordeterminingthebest
solutionforthebuilding.
Wearrivedatthevarioussolutionsforcorners,
materials,detailsandcolours,througha
combinationofdrawings,models,samplesand
mock-ups,alwaystryingtoselectthefinest
solutionsforthisbuildingandformyclient.
Thefactthattheengineersandwewereopento
newpossibilities,eventhoughthatmeant
rejectingtheoldsolutionswasinstrumentalin
makingthisanobleandharmoniousbuilding
withaveryforcefularchitecturalexpression.
Thishappenedatatimewherethereigning
functionalismhadnotyetyieldedtotheideaof
givingbuildingsamorehumaneexpression.This
isexplainedbyS.Gideoninaremarkhehasin
oneofhisbooks.Heexplainsthattherightto
expressoneselfisbackinarchitecturewiththis
building.
AsinlargecathedralstheOperaHouseis
functionalinthesensethatpeoplehavea
beautifulexperienceenteringandwalkingupthe
stairsandenteringtheauditoria,whiletheyare
allthetimeorientedinthebeautifulharbourand
havetheviewsofthespectacularSydney
Harboursetting.
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Wehadtocommencebuildingatastagewhere
theworkingdrawingshadnotyetbeen
completedorfinalised,soconstructionbeganat
thebuildingsitealongtimebeforewehad
completedthedrawings,andconstruction
drawingswerebeingproducedjustaheadof
constructionasthebuildinggrew.
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Regardingtheacousticalpropertiesforthehalls,
westartedworkingontheacousticsinEurope
withaDanishengineer-Jordon,andafterthat
wetriedanacousticfirmfromGermany-
CremerandGabler,whohadalreadymademore
that30concerthallsaroundtheworld,oneof
whichwasafamoushallinBerlinforBerlins
PhilharmonicOrchestra.
TheymademodelsashadJordoninscale1to
10intheirlaboratorywheretheyarrivedatthe
shapewhichistheshapefortheSydneyOpera
Househallswhichwasshowninalaterscheme.
Theacousticalshellswerefreeofthecovering
roof-theshells.Thehallsacousticallyhada
shapethatwasorientedtowardsthestage.It
wasalarge,plywoodconstruction.Wehad
arrivedatasolutionwherewecouldrestall
theseconvexslicesontheundersideofthe
acousticalshell,ontoaframearoundthe
prosceniumopening,fromwhichthese
acousticalmemberssplayedoutlikeafan.
Theacousticalshapewasabsolutelyclear,both
insoundandinthewaythatyouwouldobserve
itasanaudience.Thesmallestauditorium,minor
hall,hadbeentestedinalaboratory,andwhenI
askedtheacousticalexpertsifweshould
changetheshapeoftheacousticalceilingfurther
theysayNo,nodontdothatbecauseitis
perfect,actuallyitisalmosttooperfect.Thehall
wasinitswayinthesameevolutionaryprocess
alongsimilarlinesforthemultipurposehallused
asaconcerthallandanoperatheatre.
Aroundthistimethebreakcamewithanew
governmentandanewMinisterforPublicWorks
andIwaspushedasideasarchitectforthejob.
LuckilyOveArupstayedonthejob;otherwiseit
wouldneverhavebeencompleted.Butthetwo
halls,asIhaddesignedthem,werescrappedby
thenewclientandhisarchitects.Theyhada
newanddifferentprogrammeforthecompletion
ofthebuilding,totheoneIhadbeenworking
on.
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Anotheritemthathadtakenconsiderabletime
wastheglasswallsenclosingtheendsofthe
shells.Weworkedwithideasofvariouskindsas
hadOveArupsoffice.Weworkedforalong
timewithasolutionwherethemullionswere
plywoodlaminatedwithbronzebutitturnedout
tobesomewhatcomplicated.
AtthelastmeetingIhadwiththeengineerfrom
OveArupsfirm,MickLewis,Ihandedoverthe
drawingsformullionsmadeoftwinpipeswitha
distancebetweenthem,whichthesketcheswill
show,whichissomewhatsimilartothesolution
whichhadbeenused.Anduponseeingthis
MickLewissaid,WellnowIcanmaketheglass
wall.
Theglasswall,whichhasbeenbuilt,isinfamily
withtheglasswallwearrivedatwithitsfeeling
ofitshangingfromtheshell,buttheoldsolution
wasnotsplayingitout,asithasbeendone.
Accordingtoourwayofworking,theglass
panelsweretobeofequalsize,facilitating
productionetc.
Inbothversionsyouhave,asyouwalkaround
thefoyer,thefullunimpededviewoftheSydney
Harbour.Yougetafantasticfeelingofopenness
ofspaceafterbeinginsidetheauditoria.
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REBUILDING
Recentlytherehasbeensometalkaboutre-
buildingandre-modellingtheentireSydney
OperaHouseaccordingtotheplansImade
then,backinthemid1960s.
Ireallydontthinkitisaviablesolutiontore-
modelthewholebuildingaccordingtotheold
plans.
TheSydneyOperaHousehasbeenbuiltandit
hasbeenusedinacertainwaywhichsatisfies
theusersandhassatisfiedthepeopleofSydney
andalotofpeoplefromabroadformanyyears,
soitwouldnotbecorrecttogobacktothe
thoughtsandideasthatwerenewintheearly
1960swhichwerebasedonadifferent
programmeforthebuilding.
Itseemsthatmostpeoplelovethebuilding,and
itisverydifficulttoimageeverythingbeing
changed,thatthebuildingshouldbeclosed
downforanumberofyears,thatworkshouldgo
onataconstructionsitewherenobodywouldbe
abletousetheOperaHouse.
SoIsuggestthatmodificationscanbemadeas
thequestionsandneedsarise-whenever
somebodywantstoremodelsomething,re-
furnishareasyoucouldlookbackattheideas
thatwerebeingdeveloped,someofthesemight
beviabletodayoratthetimewhenthechange
iscalledfor,andsomeofthemhavebeen
outdated,becausehugetechnological
advances.SoIreallyadvisethefuturedecision-
makerstocarefullycontemplateallaspectsof
theintendedmodificationsbeforechangingthe
OperaHouse.
Iunderstandfromvariousstatementsthatthe
ConcertHallhascertainacousticalproblems.
Butasitisanimpressiveauditorium,thatthe
publicishappyabout,Isuggestthatan
approachbemadetoanacousticalspecialist
whohasmadeconcerthallsofasimilarsizeand
complexitywithsuccess.Becausemakingan
auditoriumfor1200peopleisnotaverybig
problemasopposedtomakingonefor3000
people.
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Ideallythepersonatthebackrowshouldhave
asgoodasoundreceptionandimpressionof
whatgoesonthestageasthepersonsitting10
rowsbackfromthestage.
IfthefirmofCremerandGablerandtheirfirst
manNutscharestillinexistence,Isuggestthat
youapproachthesepeopleastheywerethe
acousticalexpertsontheBerlinPhilharmonic
ConcertHall,whichhasasimilarlayoutasthe
concerthallintheSydneyOperaHouse,witha
centralstage,whichwasalsotheresultofa
requestbytheconductorHerbertvonKarianas
hewantedtobeseenfromeveryside.
Apartofthefutureconsiderationsaboutthe
OperaHousecomesundertheheadingof
generalmaintenance.ThisIfeeliswell
documentedinthereportbytheMinisterof
PublicWorks.Buttheinherentdangerinlarge
buildings,whichhavebecomepopular,isthat
thereisatendencytowanttofilltoomay
functionsandroomsintothosebuildings.
Ihaveheardthattheareabelowthestageofthe
majorhallwhereelevatorsusedtogohasbeen
turnedintoastudiostage/hall.ThisIfindisa
greatideabecausethiscanbeseenasa
necessaryfunctioninsuchalargecultural
complexastheSydneyOperaHouse.
SoingeneralIcansaythatIamveryhappythat
somuchwiththeSydneyOperaHousehas
succeeded,andthatthearchitectstakingover
theworkafterme,Hall,Todd&Littlemore,with
theaidofOveArupsCompany,hasmadethe
buildingfunctionsowell.
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COLOURS
InmyprojectfortheSydneyOperaHouseIhad
whatyoucouldcallnaturescoloursonthe
exterior.Thatwasthegeneralidea-concrete,
graniteandceramics.Withinthislandscapeyou
hadthehallsthatweretoberichlydecoratedin
festivecoloursbutallthiswasinthedeveloping
stageandhadnotyetbeenfinalised.
Thegeometryintheconstructionissuchthat
whenyoupaintthedifferentpartsinthecolours
showninthedrawings,itwouldbeasbeautiful
as,forinstancealargeflagflutteringinthewind,
whereyouseethepatternoftheflagrepeating
itselfinsuccessionbehindoneanotherinaway
thatsuggestsaflagbutyoudontseeitasa
whole.Oryouseeitinvariouscrosssectionsof
natureselements-ifyoucutacrossanonion
youseethedifferentlayers-itsthecolours
whichagainleadsyourthoughtsbacktothe
completeitem,inthesamemannerof
expressionwheretheelementsthatare
decoratedinacertainwaywhenputtogether
givemorerichlyvariedsurfacestructurethan
wouldhavebeenifithadbeenasimplesmooth
surfacethroughoutwithasingleflatcolour.
Theideawastoseeaspectacularbuildingas
youarriveandasyouenterthefoyersyousee
additionalcolours.Youalsogetamoreintimate
feeling.AsyouentertheMinororMajorhallthis
explodesintoaveryrichexpressionofcolours,
whichupliftyouinthatfestivemood,awayfrom
dailylife,thatyouexpectwhenyougotothe
theatre,aplay,anoperaoraconcert.
Soyouhaveaculminationofspace,ofcolours
whenyouareatthemeetingplacebetweenthe
performersandtheaudience.Sogoingtothe
OperaHouseisasuccessionofvisualandaudio
stimuli,whichincreaseinintensityasyou
approachthebuilding,asyouenterandfinallysit
downinthehalls,culminatingwiththe
performance.
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The Minor Hall was
programmed primarily for
theatrical productions, which
require a relatively dark or
subdued colour scheme for
the auditorium. In the spirit
of the below illustration:
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HALLINTERIORS
OveArupsaidatonestageWhycantthe
architecttolerateasteelconstructioninsteadof
thosehollow,plywoodpipesfortheacoustical
ceiling,andIresponded,Icanaccepttoput
thesteelframesinsidethehollowplywoodtubes
thatmakeuptheacousticalceilingandthus
satisfytheengineersrequirementforstrength.
Butweneedtomakefull-scalemodelsofparts
ofthisstructuretoensurethattheproposed
detailsandcoloursarecorrect.
The Major Hall was to be
used for Grand Opera and
concerts, with an optimistic,
light colour scheme, in the
spirit of the illustration at
right: 43
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FURNITURE
Everythingaboutfurniture,detailsandsoonwill
onlybebrieflytouchedupon,becausewehad
notyetreachedthestagewherewehadbegun
togointodetailwiththis.
Wemadetheworkingdrawingsjustaheadof
theactualconstructiongoingonatthebuilding
sitesothereforedevelopmentwasnotveryfar
aheadofwhatwasactuallygoingonatthesite
atanyonetime.
Thisofcourseisnotthebestwaytodothings
butontheotherhand,ifthedecisionbackinthe
late1950shadbeenthattheprojectshould
havebeencompletedentirelyandthensentout
fortender,thentheOperaHousewouldnothave
existedtoday.Soitisthankstothepolitical
foresightofJosephCahillthatthebuildingwas
commencedontheloosegroundsitwas,and
thatSydneyhasthisusefullandmarktoday.
Thereasonforthetimeittooktodevelopall
thesethingsaroundtheOperaHousewasthat
everythingwassototallydifferentfromwhathad
beenseenbefore:everythinghadtobe
developedmoreorlessfromscratch.Wecould
notjustputbitsandpiecestogetherfroma
catalogue.
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WhenyoubuildabuildingliketheOperaHouse
itislikeanoilpaintingbyoneoftheMasters
whereeverytimeyouaddabrushstrokeit
shouldenhancethetotalpainting,assoonas
youputsomethingwronginthispainting,a
wrongcolour,awrongshape,thenthetotal
imageisofalesservaluethanitwouldhave
beenifthesameartisthadbeenallowedto
completethepicture.
Achangehappenedingovernment.Ofcourse
thiswassomethingwhichwasboundtohappen
sooneroflater.Unfortunatelymycontractwith
theOperaHouseCommitteewasstopped,or
wasnotrenewed.Ididnothavethecontract
withtheMinisterofPublicWorks,butwiththe
OperaHouseCommittee,andthiscontractthe
newMinisterofPublicWorksdidnotwantto
renewortakeover.
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TheMinisterdidntwanttousetheCommittee
ortheCommitteesgreatexpertisebuiltupover
theyearsindevelopingtheOperaHouse.The
committeewasthecreativeforcebehindthe
OperaHouse.
Formeasthearchitectandfortheengineers,
theOperaHousecommitteewithMr.Haviland
aschairmantogetherwiththeMinisterofPublic
Works,Mr.Ryan,wasthemoststimulatingand
patientClientIhaveeverhad.
Everyonewasworkinghardtofulfilthewishof
PremierCahill,togiveamarvellouscultural
centretothecitizensofSydney.
Concerningtheremodellingandmaintenanceof
theOperaHouseIfeelthereareanumberof
peoplewhohaveknownandfollowedthis
buildingthroughoutitsexistence.Ithinkitwould
beagoodideatoplaceinthehandsofthese
peopleandtheircompaniesthemaintenance
andthepossiblerenovations,astheyknowthe
OperaHouseintimatelythroughtheirworkon
thebuilding.
Thesepeoplecouldbeusedasconsultants
beforedecisionsaremade.Anotherideawas
thattheycouldcomeforwardandtellwhatcould
beproblemsarisingfromdoingthisandthat
whenyouwanttodosomethingtotheOpera
House.Usuallythingsthatareconstructedhave
somesortoflogicalhistoryandwhenyouknow
thatitiseasiertotaketherightdecisionsatany
onetime.Andinthisrespect,Arupsofficeisof
courseofkeyimportanceastheyknowwhere
thingsare,whatpartsofthebuildingcantake
certainloads,whathasbeenhungindifferent
places,thewaythewalls,materialsetc,which
areimportantforthetotalstructureofthehouse,
havebeenconstructedandapplied.
ThisshouldallbecoordinatedwithRichard
Johnsonasthecoordinatingarchitect.
TheOperaHousetodayisofcoursenotmyor
ourbuilding,itisasmuchabuildingmadeby
Hall,Todd&Littlemoreanditisnotsomething
whichwecanaddonorpatchupbydoingthis
andthat.
40
47
41
AsthepresentconductoroftheOperaHouse
hassaidtheacousticsoftheconcerthallwas
veryfineatthetimeitwasbuilt.TheSydney
SymphonyOrchestracamefromtheTownHall
totheOperaHousewhichofcoursewasmuch
betterbutsincethentheOrchestrahashadan
opportunitytoplayinvariousgreathallsaround
theworldandhaveseenandheardthatthere
arepossiblyotherandbettersolutionsfor
creatingabetteracousticalsurrounding,alsofor
theOperaHouse.Sowhatwasgoodbackin
the60swasokaythen,butaspeopledevelop
andasmusicdevelops,asourperceptionof
musicandplacedevelops,ourdemands
becomehigherandthisdevelopmentwill
probablyinthefuturechangealotoffeaturesof
theOperaHousesimplybecauseyouneedto
adjusttoinstruments,assuch.
Withthewordsoftheacousticalengineer,
Cramer,Iwouldliketosaythattheidealconcert
hallisahallwhichisshapedinsuchawaythat
youdonothavetoadjustthesoundwith
absorbents.Bydoingsoyoukilloffsomeofthe
soundenergy,whereasifyouretainthebrilliance
youhavemuchmoresoundenergytravellingto
theaudience.
Soratherthanchangingtheacousticsby
absorbingcertainunwantedsoundsor
frequencies,itisbettertoadjustthephysical
shapeofthehallinsuchawaythatyouachieve
theperfectacousticalproperties.Itislikeaviolin
- ithasitsshapebecauseofitslongevolution
andithasattainedthatshape,throughevolution
towardperfection.Ithasnotchangedverymuch
inthepastcoupleofhundredyearsbecauseit
hasreachedthecapacityorthebestpossible
solutionforthisparticularinstrumentatacertain
stageinitsdevelopment.
Anothermatter,theconservationreportfromthe
MinisterofPublicWorksontheOperaHouseis
verygoodbecauseitgoesintogreatdetailabout
howtotreattheOperaHousefromelectriclights
switches,tohandles,totreatmentsofdifferent
surfaces(howtocleanthemetc.)anditis
necessaryaspartofthewholepicture,to
contemplateallofthesethings.Ihadaletter
fromapersoninAustraliawhosaidhewas
amazedandthathehadneverbeforeseena
building25yearsoldwhichwasmaintainedso
well.Thiswasveryniceformetohear.
42
THESPACEWITHIN
Onethingisimportanttoremember,theOpera
House,likeanyotherbuilding,islikeabottle-
youcanfillitwithsomuchwaterbutyoucannot
fillmorewaterintothebottlethanthespace
within.
Soitisnotagoodideatotryandfitmorerooms
insidethebuilding.Ifmorespaceisneeded,it
shouldnotbesqueezedintosomeoftheopen
spacesinthebuildingorbelowthebuilding,but
thefunctionsshouldbemovedsomewhereelse
inthecity.Imsurethattherearemanyfunctions
today,which,withthemoderntechnological
equipmentthatwehave,mightjustaseasilybe
placedelsewhere.
Forinstancemanyofthetheatresand
performancehousesaroundEuropeandthe
UnitedStateshaveoutgrowntheirenvelopeand
theyhavetakentheconsequencesofthis,and
hiredorbuiltfacilitieselsewhere.
Forinstanceforstageequipment,forallthe
lighting,forstorage,fortheworkshopsfor
rehearsalroomsandwhathaveyou,such
arrangementscanbefoundeverywhereinthe
world,andIthink,especiallyfortheOpera
House,itwouldbeverybadforthehouse,and
subsequentlyfortheareaaroundtheOpera
House,ifitwasdecidedtofilltoomany
functionsintothehouse,morefunctionsthatit
canhold.
Itmightstillbepossibletolocatefunctions
underground,undertheeasternpartofthe
Forecourt.Atthetimeoftheconstructionofthe
OperaHouse,alargestormwaterdrainwas
encounteredunderwhatwastobecomethe
plateauforthebuilding.Thisdrainthenhada
purpose,andmightstillbeinuse,andcould
poseanobstacletofurtherexpansion
underground.
Forthepurposeofdefiningthearea(s)tobe
modifiedinandaroundthebuilding,itis
necessarytorelatetodrawings.Thedrawings
shouldrepresenttheexistinglayoutand
situation,inplans,sectionsandelevations.
Somereferencemaybemadetothedrawings
fromtheoriginalscheme(Utzon).
43
48
44
Exteriorphotographscanbeusedtoillustrate
ideasaboutsignageandlightingetc.
ThisDesignBriefdoesnotpresentanumberof
solutionstospecificdesignquestions;thesewill
bedevelopedatalaterstage,buttriestogive
thereaderanideaofthearchitectsworkand
workingmethod,increatingthedrawingsand
documentsnecessaryforbuildingtheunique
andcomplexstructureoftheSydneyOpera
House.
PerhapstheDesignBriefcouldbeleftopen,in
suchawaythatideasanditemsfromthepast
andpresentcanbeaddedoveranumberof
years,aslongasIcancontinuetoworkwiththis
wonderfulprojectinSydney.
JrnUtzon
45
46
02THEFUTURE
47
2.1
APPROACH
TheapproachofJrnUtzonto
changeoftheSydneyOperaHouse
isclearlystatedinhislettertothe
chairoftheSydneyOperaHouse
Trustdated19August2000.
Dear Mr Skryznski
As the architect of the Sydney Opera
House, as the creative force behind its
character, I sincerely believe that a large
multipurpose structure such as this
building, in time will undergo many
natural changes.
The ideas as they were developed in the
sixties, evolved as the result of the
needs and technique at the time.
As time passes and needs change, it is
natural to modify the building to suit the
needs and technique of the day.
The changes, however, should be such
that the original character of the
building is maintained.
That is to say, I certainly condone
changes to the Sydney Opera House.
Both changes due to general
maintenance and changes done due to
functional changes.
Had I completed the Sydney Opera
House as the architect in charge, the
building would have developed and
changed with the time ever since.
I am certainly happy to have been asked
to be a consultant to this development. I
hope that my role and involvement can
be a guidance to the decision makers at
the Sydney Opera House, in such a way
that the maintenance, the alterations
and the development can take place in
such a manner that my presence in the
team will assure that the character of
the Sydney Opera House is
emphasised.
Sincerely yours,
Jrn Utzon
48
2.2
PRINCIPLES
ThefollowingquotationsbyJrn
Utzonestablishaclearsetof
principlesformanagingthefutureof
theSydneyOperaHouse.
Thesequotationshavegenerally
beendrawnfrompartoneofthis
documentorfromprivate
transcriptsofrecentdiscussions
withJrnUtzon.
Hiscommentsaremadeinthe
contextofhisunderstandingofthe
Houseanditscurrentandfuture
needs.
Keeptheapproach,theopenessand
fluidityofmovement
OneofthegreatfeaturesoftheOpera
Houseistheapproach,theopenness,
thefluidityofpeoplesmovements
throughthehouse,andonceyouclutter
thisyouhaveaproblem.(1)
NewstructuresclosetoSydneyOpera
Housediminishitsroleasicon/
landmark
Oneadverseeffectcouldbefrom
placinglargenewstructurescloserand
closertotheOperaHouse,thereby
diminishingitsvalueasaniconfor
SydneyandAustralia.(2)
Ifyouclutterthenewspacesaround
suchasignificantbuildingthenyou
obscurethebuilding,andcanobscureit
toanextentthatitnolongerretainsits
valueinthecityoritscharacter...itwill
loseitsimportanceasaniconorasa
landmarkforthecity.(1)
Newstructuresplacedclosetothe
SydneyOperaHousewilldiminishits
valueasaniconbydisturbingitschief
characteristicsofbeingfreeinthe
centreofSydneyHarbour.(1)
Needtotakealong-termview
Thereisaneedtotakealong-termview
ofimportantsites.(1)
49
Forecourtshouldnotbecluttered
Forecourtshouldnotbeclutteredwith
newbuildingsatanysize.(1)
Accommodatenewapproachandback
ofhouseforeventsunderForecourt
Itmightstillbepossibletolocate
functionsundergroundunderthe
easternpartoftheforecourt.(2)
Ifneededsomefunctionscouldbe
sunkbelowtheforecourtlevel,insucha
wayastobeaccessiblefromthe
forecourt,butwithoutdisturbingthe
visualimpactoftheoriginallayout.(1)
...anapproachfromtheunderground
parkingintheBotanicalGardencould
emergeviaanopeninginornearthe
Tarpianwall.Facilitieslikedressing
roomsorroomsfortemporarycatering
foractivitiesintheforecourtcouldbe
placedundertheforecourtsurface
Accessfromcarparkthroughaholein
theforecourt.Spacecould
accommodatebackofhouseand
storageforoutdoorevents.(4)
Solidityofbaseisimportant
Ifyouopenthesidesofthebaseto
createday-light...thensuddenlythe
basebecomesanofficebuilding,and
thatwillreducedrasticallythedramatic
expressionoftheOperaHouse.(1)
Dangerintoomanyfunctions-building
haslimitedsize
Buttheinherentdangerinlarge
buildings,whichhavebecomepopular,
isthatthereisatendencytowanttofill
toomanyfunctionsandroomsinto
thosebuildings.(2)
Itisnotagoodideatofitmorerooms
insidethebuilding...morefunctions
thanitcanhold.(2)
Relocatenon-essentialfunctions
Ifmorespaceisneeded,Imsurethat
therearemanyfunctionstoday,which
withthemoderntechnological
equipmentthatwehave,mightjustas
easilybeplacedelsewhere.(2)
50
Concoursewasintendedasfoyer
Theideaofthedrop-offwasthatitwas
afoyeryoucouldincreasetheoverall
lighting.(4)
Undercovercardrop-offisimportant
andshouldbekept.(4)
Futuretreatmentoffinishes
Referstofoldedconcretebeamsof
concourse:
Someformoftreatmentofthese
surfacesasawholeorinpartswillbe
necessarytoconcealthedefectsand
bringituptoauniformandacceptable
standard.(3)
ConservationPlansupported
TheConservationPlan:
Isverygoodbecauseitgoesintogreat
detailabouthowtotreattheOpera
Housefromelectriclightsswitches,to
handlestotreatmentsofdifferent
surfacesanditisnecessaryaspartof
thewholepicturetocontemplateallof
thesethings.
Lookbacktopast-someideasmight
beviable,someoutdated
Wheneversomebodywantstoremodel
something,re-furnishareasyoucould
lookbackattheideasthatwerebeing
developed,someofthesemightbe
viabletodayoratthetimewhenthe
changeiscalledforandsomeofthem
havebeenoutdatedbythetimethathas
gonebyastheevolutionresultsinhigh
technologicaladvances.(2)
ReferstofurnituredesignedforSydney
OperaHouse:
Imustsaywecannowlookatitwith
othereyesanditmightbepossiblethat
wecanusesomeofthesesystems.(4)
51
Careneededbeforechange Needtoadjusttochangingstandards
SoIreallyadvisethefuturedecision-
makerstocarefullycontemplateall
aspectsoftheintendedmodifications
beforechangingtheOperaHouseas
such.(2)
Sowhatwasgoodbackinthe60swas
okaythen,butaspeopledevelopandas
musicdevelops,asourperceptionof
musicandplacedevelops,ourdemands
becomehigherandthisdevelopment
willprobablyinthefuturechangealot
offeaturesoftheOperaHousesimply
becauseyouneedtoadjustto
instruments,assuch.(2)
Localhistoryimportant
Usuallythingsthatareconstructed
havesomesortoflogicalhistoryand
whenthisisknownitiseasiertotake
therightdecisionsatanyonetime.(2)
Peoplewithknowledgeofthebuilding
important
Concerning-theremodellingand
maintenanceoftheOperaHouse.Ifeel
thereareanumberofpeoplewhohave
knownandfollowedthisbuilding
throughoutitsexistence.Ithinkitwould
beagoodideatoplaceinthehandsof
thesepeopleandtheircompaniesthe
maintenanceandthepossible
renovations,astheyknowtheOpera
Houseintimatelythroughtheirworkon
thebuilding.(2)
Arupsofficeisofcourseofkey
importanceastheyknowwherethings
are,whatpartsofthebuildingcantake
certainloads,whathasbeenhungin
differentplaces,thewaythewalls,
materialsetc,whichareimportantfor
thetotalstructureofthehousehave
beenconstructedandapplied.(2)
52
Difficulttoimagineeverythingbeing
changed
Itseemsthatmostpeoplelovethe
building,anditisverydifficultto
imagineeverythingbeingchanged,that
thebuildingshouldbecloseddownfor
anumberofyears,thatworkshouldgo
onataconstructionsitewherenobody
wouldbeabletousetheOperaHouse.
(2)
Modificationsmadeprogressively
Isuggestthatmodificationscanbe
madeasthequestionsandneeds
arise.(2)
Cantgobacktoideasof1960s-based
ondifferentbrief
Itwouldnotbecorrecttogobackto
thethoughtsandideasthatwerenewin
theearly1960swhichwerebasedona
differentprogrammeforthebuilding.
(2)
Notviabletore-modelwholebuilding
accordingtooldplans
Ireallydontthinkitisaviablesolution
tore-modelthewholebuilding
accordingtotheoldplans.(2)
Considerlong-termcosts
Referstooriginaledgetiledetailnot
executed:
Thisisanexampleofthe
misunderstoodideaofsavingandthen
findingoutafterwardsthatitisacosting
alotofmoneyinthelongrun
Quotationreferences
1.JrnUtzon,SydneyOperaHouse,
TheSetting5May2000
2.JrnUtzon,SydneyOperaHouse4
June2000
3.JrnUtzon,DescriptiveNarrative,
SydneyOperaHouseJanuary1965
4.JrnUtzon,JanUtzonandRichard
Johnson,PrivateRecordsof
DiscussionMallorca,April,October&
November1999
53
54
03DESIGN
PRINCIPLES
55
3.1OBJECTIVES
Theproductionofadefinitivestatementofthe
fundamentalprinciplesunderlyingthedesignby
theoriginalarchitectachievethefollowing
objectives.
a)Itisapermanentreferenceforthe
conservationofthebuildingandwillbe
incorporatedintotheconservationplan.
b)Aspartoftheconservationplanitwillbeused
tomanageanyproposalsforchange.
Allproposalswillbereviewedinthecontextof
theirimpactonthedesignprinciplesandthe
conservationplan.
c)Itwillbeusedtoclarifyoriginaldesignintent
particularlyinthecontextofthemany
publications,andcommentsbythosewhoare
notauthorisedtospeakonbehalfoftheoriginal
architect.
d)Itwillbeaprimedocumenttoinfluence
planningcontrolsfortheprecinct,topreserve
views,vistas,andapproaches,andprovidefor
futurelong-termimprovementstothesetting.
56
3.2
FUNDAMENTALPRINCIPLES
Therearetwoprinciplesthatarefundamentalto
thearchitectureofJrnUtzonandsethim
dramaticallyapartfrommostofhis
contemporaries.
Hedrawsinspirationfromnaturefororganic
formandcreatesanarchitecturethatis
predominantlyexperientialincharacter.
Thefollowingquotationsdrawnpredominantly
frompartoneofthisdocumentandfromprivate
transcriptsofrecentdiscussionselegantly
illustratethesefundamentals.
57
INSPIRATIONFROMNATURE
OrganicBeauty
andintheroofsthelargeamountof
whitetilessub-dividedintosegments,
arelikethestructureofaleafwhich,
withitsribsandinfill,haveanorganic
beautyofitsown.(2)
Navalchartsandheadlands
AnotherinspirationIgotfromseeing
thenavalchartsoverSydney,onwhich
wereshownthesandstoneheadsatthe
entrancetoSydneyHarbour.These
headsslopeupwardtowardsthegap,
wheretheydropabruptlytothesea.
(2)
Naturescolours
Ihadwhatyouwouldcallnatures
coloursontheexterior.Thatwasthe
generalidea-concrete,graniteand
ceramics.(2)
Reflectionofsunlight
ThecitationfromtheAmerican
architectLouisKahn:thesundidnot
knowhowbeautifulitslightwas,untilit
wasreflectedoffthisbuilding.(2)
Halllikecloudinsky
Theoverallshapeofthehall,afree
formhanginglikeacloudinthesky.
(3)
Glasswallribslikebirdswings
Approachingonewillnoticethebronze
coveredverticalplywoodmullions
hangingasthefoldsofabirdswing.
(3)
Cross-sectionofnatures
elements
Thegeometryintheconstructionis
suchthatwhenyoupaintthedifferent
partsinthecoloursshowninthe
drawings,itwouldbeasbeautifulas...
youseeitinvariouscrosssectionsof
natureselements-ifyoucutacrossan
onionyouseethedifferentlayers.
(2)
Earlymorningandsunsetcolour
Ihadamarvellouspainterfriendand
hesawthemorningsun,everymorning
andtheeveningsunatsunset.These
momentsareshortandintheopenings
ofmymind,Ithoughtinadifferentway
thandailycolour.(3)
58
HUMANEXPERIENCE
Emotionalresponse,functionalismand
humanexpression
Thishappenedatatimewhenthe
reigningfunctionalismhadnotyet
yieldedtotheideaofgivingbuildingsa
morehumaneexpression.(2)
Objectiveistobringjoy
Thearchitectsgifttosocietyisto
bringthepeopleabigjoyfromthe
surroundingsthatarchitectscreate.
(1)
Beautifulexperience/orientedin Beinginanotherworld Considerationofdetailslikedoors
Harbour
ThelargestaircaseattheSydney Soifyouopenthatbutterflydoorit
...Peoplehaveabeautifulexperience OperaHousewasmade100metres opens,muchfasterthanthisdoor,its
enteringandwalkingupthestairsand wideandtheplateauontopbecamea closedbuthalfway,andthenyouopen
enteringtheauditoria,whiletheyareall veryimportantfeatureforthefeelingof it,givingyouafeelingofeasieraccess.
thetimeorientedinthebeautiful beinginanotherworld.(2) (4)
harbourandhavetheviewsofthe
spectacularSydneyHarboursetting.
(2)
Ialsohavehadsomanyreactionsthe
momentIputafootonastaircasewith
stepsahundredmetreswidesomething
Iamgoingtomakeabuilding,hereyou
cameinandupthestaircase,youarein
adarkenedroombutthestaircaseis
happenstoyou,somethinglikeclimbing obviousforthestaircaseiswelllit...a
Successionofvisualandaudiostimuli,
culminatingwithperformance
SogoingtotheOperaHouseisa
successionofvisualandaudiostimuli,
amountain.(4)
Thisfeelingofmovingupwardswasa
determiningfactorintheshapingofthe
largeplatform.(2)
periodpassesandyoucameupandin
frontofyou,youseeabigtapestrybyle
Corbusier.(4)
whichincreaseinintensityasyou Thepatronswillreceiveontheirwayto Festivemood
approachthebuilding,asyouenterand
finallysitdowninthehalls,culminating
withtheperformance.(2)
thetheatrehallsanimpressionofrestful
anddignifiedsurroundingswitha
generousspaciouslayout.(3)
AsyouentertheMinororMajorhall
thisexplodesintoaveryrichexpression
ofcolours,whichupliftyouinthat
Concourseareashouldhavea festivemood,awayfromdailylife,that
welcomingambiencewithmorelight youexpectwhenyougotothetheatre,
andreducedglare. aplay,anoperaoraconcert.(2)
59
Feelingdetachedformthecity
Duringintermissionyouremainaround
theauditoriumandcanretainthefeeling
ofbeinginanotherworld.(2)
Aftertheperformancethebarsand
loungeswillpresentforthepatronsa
secondopportunitytoenjoytheseviews
andwillunderlinetheirfeelingofbeing
detachedfromthecityinaworldofits
own.(3)
Aswemovethroughtheglassdoors
andarriveatthefoyer,weare
introducedtothebackwallofthestage,
remindingusofthepurposeofour
visit.(3)1
Ornamentalcurtain
TheornamentalcurtainfortheMinor
hallvisiblefromthefoyerwillenablethe
patronduringtheapproachtogetthe
feelingofwhattheywillfindinside.(3)
Atthecloakroomlevelthereisaccess
fortheperformers.
Patrons/performersmeeting
Unlikethenormaltheatre,whereone
literallygoestothebackdoorforsocial
intercourse,thepatronsandperformers
canmingletogetherinthecloakroom
area.(3)
Roleofcolouroptimistic
Whenwemeetforperformancewhen
wearetogethertobemoved,inour
mindsandinoursoulandexperience
whatcomesintoourminds.Colours
wouldsupportthat.(4)
Theideawastoseeaspectacular
buildingasyouarriveandasyouenter
thefoyersyouseeadditionalcolours.
Youalsogetamoreintimatefeeling.(2)
Togivelifetotheskinandhaironthe
humanforminmuchthesamewayas
thelightfromcandles.(3)67
LightsintheW.C.sandbasinareas
Giveauniformindirectlighttothe
roomswhichcanbedimmedjustbefore
thecurtaingoesupinthetheatre.(3)
Neutralandrestfulatmosphere
Thematerialsinternallywillserveto
underlinetheideasintheplanning...and
thesesurroundingswillgiveaneutral
andrestfulatmosphereforthepatrons
aswellasforthepeopleworkinginthe
building.(3)
Thehallswillformanotherworld-a
makebelieveatmosphere,whichwill
excludealloutsideimpressionsand
allowthepatronstobeabsorbedinto
thetheatremood.(3)
TheMajorhallwastobeusedfor
GrandOperaandconcertswithan
optimistic,lightcolourscheme.(2)
60
3.3
SYDNEYOPERAHOUSEDESIGNPRINCIPLES
Withinthebroadframeworkofdrawing
inspirationfromnatureandseekingan
architecturethatisexperientialincharacter,aset
ofdesignprinciplesspecifictotheSydneyOpera
Housecanbeidentified.
Thefollowingprinciplesaredescribedin
quotationsbyUtzonandillustratedwhere
appropriate.
THEBUILDINGASSYMBOL
THEBUILDINGASSCULPTURE
FORMANDFUNCTION
ORIENTATIONANDMOVEMENT
COUNTERPOINT
ADDITIVEARCHITECTURE
-ELEMENTS
-PRE-FABRICATION
-GEOMETRY
STRUCTURALEXPRESSION
MATERIALS
COLOUR
LIGHT
ACOUSTICS
61
49 50
THEBUILDINGASSYMBOL
Culturalsymbol
Everyonewasworkinghardtofulfilthe
wishofPremierCahilltogivea
marvellousculturalcentretothe
citizensofSydney.(2)
Theconceptionandthedesignofthe
SydneyOperaHouseisbasedon...the
desiretocreateabuildingwhichwill
formahomeforthoseactivities
essentialtotheculturallifeofabig
city.(3)
SymboloftheAustralianSpirit
TheAustralianspiritisactually
mirroredintheircreationoftheSydney
OperaHouse:thiscouldnothavetaken
placeanywhereelseintheworld.Itis
thedrivebehindtheWewanttodo
thingsourownway.(1)
ThepeopleofSydneyhavemadethe
OperaHouseasignatureforSydney,
whichyouseeeverywhereintheworld
indifferenteditions...
...butnobodyiseverinanydoubtthat
thismeansSydneyandthismeans
Australia.(1)Inmyopinion,asituation
suchasthis,whereanewbuildingis
havingagreatimpactonacityisavery
rarething.(1)
Inspirationtoartists
Whencompleted,theSydneyOpera
Housewillserveasahomeforthe
culturalactivitiesofthecityandwill
inspireartistsandtechniciansto
presenttothepublicthehighestquality
performanceformanyyearstocome.
(3)
62
51 52
THEBUILDING
ASSCULPTURE
Iconicpresencebeing
freeinSydneyHarbour
Thecharacterwhichismostprominent
abouttheOperaHouseisitsbeingfree
inthecentreoftheSydneyHarbour,free
fromallsides,visiblefromallsides.(1)
HelsingrandSydneyareinthesame
situationwhereyouhaveadistance
betweenthecitycentreandthe
landmarkbuilding.(1)
...Ihappenedtolivenearthecastleof
Kronborg,situatedinasimilarposition
withsimilarsurroundingbetweentwo
coastsofDenmarkandSweden.(2)
Largesculpturalbuildingseenfromall
sides
WithKronborginmindIwasconvinced
thatanewbuildinginsuchapositionas
tobeseenfromallsides,hadtobea
largesculpturalbuilding.(2)
Sculptureincontrasttosurrounding
buildings
Thepositiononapeninsula,whichis
overlookedfromallanglesmakesit
importanttomaintainanall-round
elevation...thebuildingmustformafree-
standingsculptureincontrasttothe
squarebuildingssurroundingit.(3)
Sculpturecapturesandmirrorsthesky
Itisimportantthatsuchalargewhite
sculptureintheharboursettingcatches
andmirrorstheskywithallitsvaried
lights,dawntodusk,daytoday,
throughouttheyear.(2)
63
53
Sculptureofdynamicforms
Inthiswayverysculpturalshapeswere
arrangedsidebyside,soonegetsa
variedpictureofthecomplex,according
towhichwayyoumovearoundinor
aroundthestructure.(2)
Thepatronortouristwillseetheshells
frombelowasanexpanseofcurved
wallchangingconstantly.(3)
54
Experiences
Referringtoascendingthestaircase:
Thenyouseeonlythetopsofthe
shellsyoulookintotheskythenyou
comeup,andmoreandmoreyouread
theshellsanditsaverybeautifulthing
youdonthaveskyscrapersontheother
side.(4)
64
FORMANDFUNCTION
Functionalconceptofbaseandshells
Theseparationbetweenthetwo
components(baseandshells)isalso
dictatedbythefunctionalconception.
(3)
Themechanicalpartsofthetheatre
andthepatronsareas,wheretheycan
moveaboutfreelywithoutanystage
interferingwithorevenbeingawareof
theexistenceoftheotherpart.
Withinitsmass(theplateau),could
houseallthefacilitiesforpreparingthe
performanceswithstagesetsetc.
Theaudienceandtheperformance
itself,alltakingplaceontopofthe
plateau.(2)
55
54
56
Possibilitiesforalltypesofcultural
performances
TheSydneyOperaHousewithitsthree
theatrestagesoffersapossibilityforall
levelsofculturalperformances.There
areonlyafewhousesinthewhole
worldwhicharesimilarlydesigned.(3)
Plateau12metrestoHousestageset
Theplateauwasmade12metreshigh
soitwaspossibletohavethefullstage
heightbelowthestage-level,for
arrangingthesetspriortotheirbeing
senttothestage.(2)
Plateaufunctionsasmeetingplaceand
auditorium
Thisplateaualsofunctionsasa
gatheringplace,atownsquareand
outdoorauditorium.(2)
AnothersourceofinspirationIgotfrom
anearlyvisittotheYucatanPeninsulain
Mexico.
Whentheybuildtheirtemples,thereare
oftenplacedonlargeplatformswith
widestairsleadingtothetopofthe
junglecanopy.(2)
65
57
Shellfollowsheightofvariousfunctions
Thefoyer,theauditoria,thestagesand
stagetowersweresolvedbycovering
thesefunctionswithlargeconcrete
shells,whichfollowtheheightofthe
variousfunctions.(2)
Acousticshapedeterminedbysound
andhowaudiencewouldseeit
Theacousticalshapewasabsolutely
clear,bothinsoundandinthewaythat
youwouldobserveitasanaudience.
66
58
ORIENTATION
ANDMOVEMENT
Orientedinharboursetting
Peopleapproaching,walkingupthe
stairsandenteringtheauditoriaareall
thetimeorientedinthebeautiful
harbour.(1)
Simple,easilyunderstoodtour
IntheSydneyOperaHouseyouare
awareofyourorientationatalltimes.It
isimportantthateachnumberofthe
audiencehasasimple,easily
understoodtour,fromtheentranceto
hisorherseatandoutagain.(2)10
Allproblemsregardingfireandfire
staircasesaresolvedinasimilar
comprehensivemanner.(2)
59
Entrancesfacecity Outdoorauditoriawithcitybackdrop
Twohalls,placedsidebyside,toavoid
thenecessityofpassingonehalltoget
totheother.Bothentrancesarefacing
MacquarieStreetandthecity.(2),(3)
Thisoutdoorauditoriumcreatedbythe
grandstaircaseisofcoursepartofthe
townscapeandisalsoverydependent
uponwhatgoesonelsewhereinthe
city.Becauseasyousitonthesestairs
youlooktowardsthecity,andyouhave
thecityanditsbuildingsasa
backgroundtowhateverhappensonthe
forecourt.(1)
Ornamentalcurtaindefinesseparation
ofstageandauditorium
FortheMinorHall,theornamental
curtainforthestageisrolledvertically
inalargeglasscylinder,whichcanbe
seenfromthefoyer.Thiswaythe
patronswillbeabletoactuallyseethe
separationbetweenthestageandthe
auditorium.(3)
67
60 61
Hallshapeorientedtostage
Thehallsacousticallyhadashapethat
wasorientedtowardsthestage.(2)
Thelayoutofthehallsconsistsofa
seriesofradialsectionsallfanningout
fromafocalpointinthestagearea.(3)
Approach,openess,fluidityofpeoples
movement
OneofthegreatfeaturesoftheOpera
Houseistheapproach,theopenness,
thefluidityofpeoplesmovement
throughthehouse.(1)
Successionofvisualandaudiostimuli
SogoingtotheOperaHouseisa
successionofvisualandaudiostimuli,
whichincreaseinintensityasyou
approachthebuilding,asyouenterand
finallysitdowninthehalls,culminating
withtheperformance.(2)
Podiumheadlandinfluence
ReferringtoSydneySandstone
headlands:
Whereyouwalkuphillasyouapproach
theseatotheedgeofanescarpment
fallingawaytothebeachandseabelow.
Asyouapproachtheedgeyoulookup
intotheemptysky,andonlyatthevery
lastmomentareyouabletogeta
magnificentviewofthesea.(2)
Humanexperience
AsinlargecathedralstheOperaHouse
isfunctionalinthesensethatpeople
haveabeautifulexperienceenteringand
walkingupthestairsandenteringthe
auditoria.(2)
Imaginarytour
Inordertofullyappreciatetheoutside
appearanceofthebuildingaswellas
thematerialsandthereasonsfor
selectingthem,itisproposedto
undertakeanimaginarytouraroundthe
structureascompleted.(3)
68
Walkinopenuptoenteringauditoria
Theidealwayofapproachandexit
wouldbebyferry.(3)
Forpatronsarrivingonfoot,itis
possibletowalkintheopenrightupto
themomenttheywillenterthefoyersof
theAuditoria.(3)
Itisveryimportantthattheaudience
doesnotenterandwalkthroughthe
buildingalongdarkcorridorstoadark
hall.(2)
Wenowpassbeyondthebackstage
wallaroundthestageproperandup
flightsofstairstotheMajorHallandto
filterbackintothehallitself.(3)
Spaciouscaraccess
Forthosearrivingbycar,therewillbea
spaciousareaundertheconcoursewith
6drivinglanes.Thepatronswillbe
dischargedontothecurbundercover
tothe4-stairaccessleadingintothe
building.(3)
Disabledaccess
Forpatronsunabletowalk,therewill
beprovidedspecialelevatorstotake
themdirecttotheauditoriumlevelinthe
vicinityoftheseating.(3)
AtotaloftenliftswillservicetheOpera
House,eachliftbeingcarefullylocated
foraspecificpurpose.LiftNo.1with
landingsatthe12,30and42levels
hasaprimaryfunctionoftransporting
disabledpersonsfromgroundfloorlevel
totheauditoriumlevel.(MajorHall).(3)
LiftNo.2inthestagearea(MinorHall)
hastheprimaryfunctionofcarryinga
totalof16disabledpersonsfrom
groundleveltoauditoriumlevelwith
oneintermediatestop.(3)
Flowofcorridorsreflectmovement
Aestheticallywegettheflowofthe
corridorsreflectedintherhythmofthe
movementoftheelements.(3)
Hereagain,weseethearchitects
philosophyandifhumanscirculate
aroundabuildingthroughcorridors,so
alsoyourservicesdothesamething,
andinsteadofmakingadooraccess
fromacorridortoaroomforhumans
onlyandaseparateholepiercedina
wallforaccessofservices.Thedooris
extendedabovethefunctionalheightfor
humanstoaccommodatetheservices.
(3)
69
64
62
63
COUNTERPOINT
Buildingandsurroundings
Itistheinterplaybetweenthebuilding
anditssurroundings...thatis
important.(1)
Contrastwhitewithbrickandtile
structures
Keepitwhite,becausetheHarbour
(surroundingbuildings)isdark,withall
itsdark,redorbrownbrickstructures.
(2)
Sculptureandsquarebuildings
Thebuildingmustformafree-standing
sculptureincontrasttothesquare
buildingssurroundingit.(3)
Plateauandshells
Counterpointbetweentheplateauand
theroofisstrong.Theheavymassof
theplateauandthelightsculpturalroof.
(2)
Heavyandlight
Thedifferenceincharacterofthetwo
componentsformingthebuilding,the
massiveandimposingbase,andthe
lightandgracefulshellsontopofit...
(3)
Referringtothepaving:
...itsuniformitywiththecladdingwill
helptogivetherock-likecharacter
desiredforthebase,asacontrastand
anchortothesoaringroofs.(3)
70
66
Mattandgloss
Theprecastgraniteelementsareneedle
hammeredtogiveaslightlymatt
surfaceincontrastwiththeshinyroof
tiles.(3)
Neutralandrichcolours
Exteriorcolourswerenaturescolours.
Withinthislandscapeyouhadthehalls
whichweretoberichlydecoratedin
festivecolours.(2)
Openandclosed
Asyouwalkaroundthefoyeryouhave
thefullunimpededviewoftheSydney
Harbour.Yougetafantasticfeelingof
opennessandspaceafterbeinginside
theauditoria.(2)
65
Exteriorshellsandacousticshells Outsideandinside Concreteandply
Theacousticshellswerefreeofthe Eachrehearsalroomistreatedinthe Thewallswillshowtheconcreteasit
coveringroof-theshells.(2) samewayasthehall,thatis,wehave wasconstructed,contrastingwiththe
thestructurewithholdingtheoutside mouldedplywoodpanelswhichformthe
Darkandlight
elementsandinsidewehavea
completeboxtoretainthesounds
componentsofthefurnitureand
fixings.(3)
MinorHallwasprogrammedfor
theatricalproductionswhichrequirea
relativelydarkorsubduedcolour
schemeandtheMajorHallwastobe
usedforGrandOperaandconcertswith
producedinternally.(3)
Buildingandfurniture
Referringtoplywoodpanelssurround
Thecubiclesthemselvesforcoatsand
toiletsaremadeofmouldedplywood
panelsincontrasttotheimpressionof
severityleftbythestructure.(3)
anoptimistic,lightercolourscheme.(2) thewholeofthestagetower:
Thetheatredarkerandwarmthe Thisemphasisesthestagetoweras
concerthallmorecoldandlight beingpartofthemachineryapieceof
plywood.(4) furnitureplacedundertheshell.(3)
71
ADDITIVEARCHITECTURE-
ELEMENTS
Expressionofelements,produced
industrially
Theexteriorsofthebuildingstandas
anexpressionforsomethingbasicin
theconcept-theideaofdividingthe
variouspartsupintoequalcomponents,
whichcanbeproducedindustriallyand
afterwardsputtogethertoforma
structureofthedesiredform.(3)
67
Referencetonature
Oryouseeitinvariouscrosssections
ofnatureselements-ifyoucutacross
anonionyouseethedifferentlayers.
(2)
Geometry
Thewallcladdingelementsare
nominally4wideandofvaryinglengths
to30...overdoors,windowsand
ventilationopenings,therearespecial
elementsforminghoodsforsunand
weatherprotection.Thereareother
variationsofthebasicelementtype
formingsills,jambs,parapets,andstair
balustrades.(3)
Shellssub-dividedintoribs
Referringtosphericalgeometry:
Nowtheshellscouldbesub-divided
intoribs,whichagaincouldbedivided
intosmallerelements,whichcouldbe
castwithinformworkrepresentingthe
largestrib-entity.(2)
Morerichlyvaried
Wheretheelementsthataredecorated
inacertainwaywhenputtogethergive
muchmorerichlyvariedsurface
structurethanwouldbeifithadbeena
simplesmoothsurface.(2)
72
68
Sameform-harmonyanduniformity
Thesedimensionsareimportant...kept
thesamethroughoutallplywood
elementsusedinthebuildings,giving
thenecessaryuniformityandharmony.
(3)
Colourinharmonygeometricconcept
Intheplateau,theceilingofstructural
ribsareshapedsotheyelegantly
expresstheforceswiththestructure.
Theyexpresstheharmonyinthe
structure.(2)
Byusingthissameformwehave
harmonyanduniformitythroughout
givingtheintrinsicwholetothe
building.(3)
Theplywoodconstructionwillbe
decoratedaccordingtoanideawhich
willbringthechangingcoloursinto
harmonywiththegeometricalconcept.
(3)
Harmony/uniformitygivingintrinsic
wholetobuilding
Wecanseetheuseofthesametools
fortheformingofthecurvesbut
extendedorreducedasrequiredto
obtainthephysicalsizeofthepanel.By
usingthissameformwehaveharmony
anduniformitythroughoutgivingthe
intrinsicwholetothebuilding.(3)
73
PRE-FABRICATION
Machine-madecomponentsbasicin
concept
Theexteriorsofthebuildingstandas
anexpressionforsomethingbasicin
theconcept...inotherwordstheuseof
machinemadecomponentsinthe
buildingindustry.(3)
Conceptincontrolofmachine
Asheworkswithamachinethathas
nointrinsicthinkingcapacity,hemust
deviseamanufacturingprocessforthe
machine.(3)
69
Modularcoordination/standardisation
Accordingtoourwayofworkingthe
glasspanelsweretobeofequalsize,
facilitatingproduction.(2)
Wemustfindthemachinestomake
ourcomponentsanddevisesome
meanstoputtheseelementstogether
onlylimitedtothesizeandweightof
ourmechanicalagetoerectthem.(3)
Practicallimits(sizeandweight)
commerciallyproduceddimensions
Referringtoplycubicles,plybeams,
overrehearsalrooms,plypanelsin
corridors,canopypartofglasswalls:
Thereforeasystemwasdeveloped
whichmadeitpossibletomakeallthe
glasswallswithinacertainmoduleand
withglazingpanelsincommercially
produceddimensions.(3)
Thecubiclesthemselvesforcoatsand
toiletsaremadeofmouldedplywood
panels...theformoftheindividual
cubiclesiswithinthescopeofthe
maximumandminimumcapabilitiesof
manufacturedmouldedplywood
panels.(3)
74
70
GEOMETRY
Commongeometricdeterminator
Initially,nodefinitivegeometryforthe
shellshadbeenestablishedbut,as
workprogressed,theshellswere
developedaccordingtoaspherical
geometryandwesuddenlyhada
commondenominator,thesame
sphericalsurfacetodealwith,witha
similarcurvaturethroughout.(2)
Undercontrolbystrictgeometry
...theonlywaytoattackthe...major
partsofthebuildingwouldbetobring
themundercontrolbyastrictgeometry
andthendividethemintouniform
components,whichcanbeproducedby
machineunderstrictcontrolbothas
regardsdimensionsandquality.(3)
71 72
Layoutofhallsbasedonstrict
geometricsystem
Liketheothercomponents-theshells,
theglasswallsetc.-thelayoutofthe
hallsisbasedonastrictgeometrical
system.Thelayoutconsistsofaseries
ofradialsectionsallfanningoutfroma
focalpointinthestagearea.(3)
Onthenorthernglasswallsthesweeps
arecontrolledbythegeometryofan
intersectingcone-system.(3)
Surfacescomprehendedbecauseof
geometricorder
Alllargesurfacesareeasilyreador
comprehendedbecauseofthe
geometricorder.(2)
Simplelivinggeometricforms
Theshapesoftheshellsgivethe
buildingitscharacter,whichis
emphasisedbythefinelinesdefining
theformofthecurvatureastheseams
inabillowingsail.
...fromtheseviewpoints(broadwalk)
thelineswillassisthisappreciationof
thesimple,yetlivinggeometricalforms
whichotherwisemightescapehis
comprehension.(3)
75
73
74 75 76 77
Openspossibilityformassproduction
Referringtosphericalgeometry:
Wasanelegantsolutiontoa
construction,whichwouldotherwise
havehadtobedonewithalarge
amountofscaffoldingandshuttering,
bothfortheinteriorandexteriorshape
oftheshells.(2)
Pre-fabrication
Theclearlydefinedgeometryofthehall
opensthepossibilityforproducingall
thecomponentsinmass-production.
(3)
76
81 78 79 80
Geometryopenspossibilitiesformass
production
Theceilingissuspendedfromtheroof
structureinthemiddlebutinsteadof
usingstraightinfillingpanelsasinMajor
hall,theMinorHallceilingismadeof
plywoodpanelsmouldedtoastandard
curvature,apartofacylinderwitha
constantradiusthisconstructionlends
itselfequallywelltoprefabrication.(3)
Theclearlydefinedgeometryofthehall
opensthepossibilityforproducingall
thecomponentsinmass-production,in
otherwords,thewholehallcanbe
manufacturedinsmallunitstopre-
determinedtolerancesandbe
assembledafterwardsinsidethe
buildinglikea3-dimensionaljigsaw
puzzle.(3)
ReferringtoMinorHall:
ThefurniturefortheMinorHallwillbe
designedonthesamebasisasforthe
MajorHallsoastotakemaximum
advantageoftheprefabrication.(3)
Thisconstructionlendsitselfequally
welltoprefabrication,sinceonemould
willbeabletoproduceallthepanelsto
therequiredlength.(3)
Referringtoplywoodpanelstocorridor
walls:
Thesepanelsareapproximately16
incheswidereturningarounda2inch
radiusapproximately5inches.These
dimensionsareimportant,astheyare
thelimitofthemanufacturingprocess,
whichiskeptthesamethroughoutall
plywoodelementsusedinthebuilding.
Givingthenecessaryuniformityand
harmony.(3)
Referringtoplycorridorlining:
Thusmassmanufacturingproduction
ofsimpleelementsgivesaneconomical
solutionprovidingtherequired
aestheticsandwitheaseofaccessfor
maintenance.(3)
77
STRUCTURALEXPRESSION
82 83
Bysub-dividingofthetilesurfaceinto
glossytilelids,withmattetilesatthe
edges.Iachievedmyaim,tohavethe
structureexpressingthearchitecture
andvice-versa.Youfindasimilar
situationinGothiccathedrals.(2)
TheSydneyOperaHousehasthesame
ambienceaslargecathedrals.(1)1
YoufindasimilarsituationinGothic
Cathedrals,wherethestructureisalso
thearchitecture.Thesameisseenin
ChineseandIslamicarchitecture,
althoughwithdifferentexpressions.(2)
Structuralexpressionandarchitecture
TheArchitecturewiththeribsismuch
moreexpressivethaniftheshellshad
beencastin-situ,withtheresultingflat
constructedsurfaces.(2)
Thetopsurfaceoftheshellsiscovered
withaweatherproofmembrane,aseries
ofprecastpanelsmatchingtherib
segmentsandcoveredwithwhite
glazedtiles.(3)
Plateaubeamsexpressforces
Thiseffectwasalsodevelopedforthe
baseorplateau...asIwantedanopen
areawithaceilingofstructuralribs.
Theseribsareshapedsotheyelegantly
expresstheforceswithinthestructure.
(2)
Sculpturaleffect
Thesoffitofthepodiumwillformthe
firstimpressionofthebuildingfromthis
approach.Thissurface...showsthe
markedsculpturaleffectoftheconcrete
foldedbeamsspanning165.(3)
Spansexpressedbyribsandfolds
Thisresultedinabuildingwhereall
spansareclearlyexpressedbyribsand
folds.(2)
78
84
Exposingmaterials
Referringtothepatronswaytothe
halls:
Exposingallthetimethecarefully
selectedmaterials,whichitisbuiltof.
(3)
Acquirepatinawithoutchanging
character
Referringtoexternalmaterials:
Allthematerialsarenon-corrosive,
weatherresistant,durableandwillage
andacquireapatinawithoutchanging
theircharacter.Therebypreservingthe
characterofthewholebuildingthrough
theages.(3)
Weathering
Referringtothefinishonprecastgranite
panels:
Aprocessofneedlehammeringis
carriedout,givingaslightlymatt
surfacewhichshouldalsohavethe
advantageofweatheringevenly.(3)
Materialsdefinegeometricconcept
Theconcretestandswithonevenand
precisesurfaceandthesharpand
straightedgesclearlydefinethe
geometricconcept.(3)
Wecanseethroughtheglasstothe
undersideoftheconcreteribsofthe
firstshell...finishedinsmoothconcrete
withsharparrises,emphasisingthe
toweringformofthehighshelland
requiringnofurthertreatmentor
maintenance.(3)
Retainvisualquality
Regardingtiles:
Thisgaveasurfacewhichhada
beautifullustreorsheen,asurfacethat
wouldretainitsvisualqualityevenwhen
thetilebecamedirty.(2)
Naturalmaterials
...therawtileispaintedwithasauceor
slickofthesamematerial,isfiredand
overlaidwithaglassy,transparentglaze
beforeitisfiredthefinaltime.(2)
Naturalcoloursandmodular
Thewallswillbecoveredwhollyorin
partbymodularsizedmouldedplywood
panels,finishedinthenaturalcolourof
thewood.(3)
Simplicityinnumberofmaterials
Thefinishonpavingstepsandskirting
isidenticalwiththefinishonthe
cladding.Itisafinenon-slipand
durablefinishentirelysuitablefor
pedestriansandtraffic...(3)
Materialsservetounderlineideasin
planning
Asintheexteriors,thematerials
internallywillservetounderlinethe
ideasintheplanning.(3)
79
COLOUR
Naturescolours
InmyprojectfortheSydneyOpera
HouseIhadwhatyouwouldcall
naturescoloursontheexterior
Thatwasthegeneralidea-concrete,
graniteandceramics.(2)
Whiteshellascontrast
Referstotheshellcolour:
KeepitwhitebecausetheHarbour
(surroundingbuildings)isdark,withall
itsdarkredorbrownbrickstructures.
Colourreinforcinghumanspatial
experience,movement
Soyouhaveaculminationofspace,of
colourswhenyouareatthemeeting
placebetweentheperformersandthe
audience.SogoingtotheOperaHouse
isasuccessionofvisualandaudio
stimuli.(2)
Theideawastoseeaspectacular
buildingasyouarriveandasyouenter
thefoyersyouseeadditionalcolours.
Youalsogetamoreintimatefeeling.(2)
AsyouentertheMinororMajorHall
thisexplodesintoaveryrichexpression
ofcolours,whichupliftyouinthat
festivemood,awayfromdailylife,that
youexpectwhenyougotothetheatre,
aplay,anoperaorconcert.(2)
Counterpointmajor/minorinsideout
Thetheatredarkerandwarm,the
concerthallmorecoldandlight
plywood.(4)
Lightingcompatibleprecinct
TheMajorHallwastobeusedfor
GrandOperaandconcertswithan
optimistic,lightcolourscheme.(2)
TheMinorhallwasprogrammed
primarilyfortheatricalproductions,
whichrequirearelativelydarkor
subduedcolourschemeforthe
auditorium.(2)
80
Colourintransitiondifferentfromdaily
colour
Thesemomentsareshort(early
morningandsunset)andinthe
openingsofmymind,Ithoughtina
differentwaythanthedailycolourand
whenwemeetforperformancesweare
togethertobemovedinourmindsand
inoursoulandexperiencewhatcomes
intoourminds.Andthesecolourswould
supportthat,anditwouldbeoriental.
(4)
ReferringtoChineseart:
Lookhere,thesekindsofcoloursare
verydifferentfromoutside,onlyinside
youhaveitinthecavesandinthe
templescolourswhicharealwayson
theedgeofbeingcreamtoyellowand
redtoorange.(4)
TheChineseBuddhistspaintings,
heresonethatgivesmeafeelingof
whatitwouldbeliketobeinsidethe
theatre.Thereisalsothetraditionin
Europeofredvelvetseatsatthat
period.(4)
Colourexpressedgeometry
andfunction
Referringtopaintingdifferentpartsof
geometryofconstruction:
Ifyoucutacrossanonionyouseethe
differentlayers-itsthecolourswhich
againleadsyourthoughtsbacktothe
completeitem,inthesamemannerof
expressionwhentheelementsthatone
decoratedinacertainwaywhenput
togethergivemorerichlyvariedsurface
structurethanwouldhavebeenifithad
beenasimplesmoothsurface
throughoutwithasingleflatcolour.(2)
Practicalglare
Iagree(whiteoutdoorfurnitureis
wrongbecauseonlythesailsshouldbe
white).Becausewhiteisnogoodfor
outdoorfurnitureasmyeyescant
toleratewhitewhenIeat.(4)
81
85
LIGHT
Whitesculpture-catchestheskys
variedlight
Itisimportantthatsuchalargewhite
sculptureintheharboursettingcatches
andmirrorstheskywithallitsvaried
lights,dawntodusk,daytoday,
throughouttheyear.(2)
Lighttoaccentuatearchitecturalform
Youcanlightasphereinsuchaway
thatyouaccentuateitsform,oryoucan
lightitsoitwillappeartobeflat.(4)
Floodlightthroughexperimentation
Itisproposedtofloodlightthe
shells...successfulfloodlightingcan
onlybeachievedthrough
experimentationonthesurfaces
concerned.(3)
Lighttoflatterhumanformofskinand
hair
Togivelifetotheskinandhaironthe
humanforminmuchthesamewayas
thelightfromcandles.(3)
Generallyindirectwithcustomdesigned
fittings
Referringtopublicandworkingareas:
Lightingintheseareaswillbegenerally
ofanindirectnaturealthoughtherewill
besituationswherespeciallydesigned
directlightingfittingswillbenecessary.
(3)
82
Sculpturaleffectaccentuatedbylight
Here,thesoffitofthepodiumwillform
thefirstimpressionofthebuildingfrom
thisapproach,thissurfaceemphasised
bylighting,showsthemarkedsculptural
effectoftheconcretefoldedbeams.(3)
Concealedhandraillights
Thepodiumandpodiumstepswillbe
litthroughasystemoflightsconcealed
inthehandrails.(3)
Referringtoroadwayunderpodium:
Aspecialsystemoflowlevellighting
hasbeendevelopedwhichwillproduce
asafeandattractivesystemoflighting
toenablethemixingofpedestriansand
vehicles.(3)
Lightingcompatibleprecinct
ReferringtoMajorHall:
thebroadwalklightingofnecessity
mustbecompatiblewiththelightingin
approachroads.(3)
Fittingsforindirectlightingwillbe
placedintheceiling.(3)
LightfittingsforAuditoriaand
RehearsalRoomsmustbeofnecessity
designedinclosecollaborationwiththe
acousticalengineers.(3)
Minimisereflections/maximiseview
Beforelightinginthepubliclounges
andbarscanbefinalisedexperiments
mustbecarriedouttoensurethat
internallightingreflectionsontheglass
wallsdonotdestroythenightviewof
theharbour.(3)
Concealedfittings-wallpanels
Referringtobarandloungeareas:
Thewallswillbecoveredwhollyorin
partbymodularsizedmoulded,
plywoodpanels,finishedinthenatural
colourofthewood.Thepanelsare
stoppedshortoftheceilingsandthe
floors,wheretheyformacontinuous
fittingforconcealedlights.(3)
Lightsintegratedmoduleofpanels
Referringtotoiletareas:
The3gapbetweentheceilingand
wallelementsarepartlyforventilation
andpartlyforlighting.Lighttubesare
fixedabove,givingauniformindirect
lighttotheroomswhichcanbedimmed
justbeforethecurtaingoesupinthe
theatre.(3)
Referringtocorridorlighting:
Bytheuseofadarkcolourabovethe
slatsandhighintensityoflighting
betweentheslatscombinedwiththeir
depthonewillnotnormallybeableto
seeanyoftheservicesabove.(3)
83
86
ACOUSTICS
Twopurposes-excludenoise/reflect
sound
Referringtotheoverallshapeofthe
hall:
Thewallsandceilingsservetwo
purposes,namely:-
a) toexcludeallnoisefrom
theoutside
b)toreflectthesoundfrom
theorchestra.(3)
Acousticshapeclearbothinsoundand
inthewayyouwouldobserveit
Theacousticalshapewasabsolutely
clear,bothinsoundandinthewayyou
wouldobserveitasanaudience.(2)
Hallsorientedtowardstage
Thehallsacousticallyhadashapethat
wasorientedtowardsthestage.(2)
Personinbackrowshouldhaveas
goodasoundreceptionasinfront
Ideallythepersonatthebackrow
shouldhaveasgoodasoundreception
andimpressionofwhatgoesonthe
stageasthepersonsitting10rowsback
fromthestage.(2)36
Multi-purpose
Thehallservesseveralfunctions,asa
concerthallitwillhold2800peoplewith
themusicians(110)positionedinthe
fore-stageareaandwithaplywood
soundreflectingshellabove.Thisshell
canbedismantled,andstoredaway
whennotinuse.(3)
Idealnottoadjustsound
Thattheidealconcerthallisahall,
whichisshapedinsuchawaythatyou
donothavetoadjustthesoundwith
absorbents.Bydoingsoyoukilloff
someofthesoundenergy,whereasif
youretainthebrillianceyouhavemuch
moresoundenergytravellingtothe
audience.(2)
Likeviolin-evolutiontowardperfection
Referringtotheconcerthall:
Itislikeaviolin-ithasitsshape
becauseofitslongevolutionandithas
attainedthatshape,throughevolution
towardsperfection...(2)
84
Relationshipsoundandplywoodlength
Soratherthanchangingtheacoustics
byabsorbingcertainunwantedsounds
orfrequenciesitisbettertoadjustthe
physicalshapeofthehallinsuchaway
thatyouachievetheperfectacoustical
properties.(2).
Boxwithinstructureprinciple
Thesoundreflectingeffectisachieved
byusinglargeunsupportedmembranes
ofplywoodwhichhaveprovedsuperior
totheconventionalsmallsizepanels
sincethelatterdonotreflectthe
deepestnotesfromorchestral
instruments.(3)
Advancedplywoodtechnology
Itthereforeeliminatesanyconvected
noisesthroughthebuildingandallows
theceilingtoreverberateinharmony
withthesoundproducedwithinthe
room.Itcanbeseenthen,acoustically
theselightlongspanningelementsare
ideal...mouldedtotheshapesrequired
bythegeometry,andlaminatedwith
almostanymaterialtoobtainthe
desireddensityforsoundabsorption
andreverberations.(3)
Eachrehearsalroomistreatedinthe
samewayasthehall,thatis,wehave
thestructurewithholdingtheoutside
elementssuchasrainandsoundetc.
andinsidewehaveacompleteboxto
retainthesoundsproducedinternally.
(3)
ReferringtotheMajorHall:
Thesounddampeningeffectwillbe
achievedpartlybytheweightofthe
trussesorceilingpanelsthemselves,
increasedifnecessarybylaminationsof
lead,andalsobyfillingintheopen
spacebetweenthesheetswithmineral
woolorothersounddeadeningmaterial.
(3)
Movableplyscreensandacoustic
screensforflexibility
Referringtoreducingthestageopening
whenhallisusedforOpera:
...Sight-linesforsomeoftheseatsin
eachsideofthehallwillbeimpeded.
Theseseatswillthereforebecutoffby
meansofplywoodscreensrisingfrom
thefloortoacertainheight,atthesame
timeservingacousticallyasasound
reflectingscreen.(3)
Forthepurposeofcongress,the
foremostpartofthestageareacanbe
broughtintouseofseatingandthehall
willseatmorethan3000people.Inthis
case,theacousticalscreenusedfor
symphony
85
3.4
PROCESS 87
JrnUtzonsprocessofdesign
integratingdrawings,model
samples,prototypes,materials
researchandclosecollaboration
withmanufacturersiscentraltoour
understandingofhiswork.
Thefollowingquotationsillustrate
thispoint.
Onesolutiondependantonanother
Thissolution(thetiling)wasagain
dependinguponthesolutionofhowto
constructtheshellsthemselves.Soas
wasoftenthecase,onesolutionwas
dependingupontheotherandvice-
versa.(2)
Lateralapproach-harmoniousbuilding
Wheneveranobstaclewas
encounteredweoftenhadtochange
tackcompletelytofindanotherwayto
solvetheproblems.(2)
Thefactthattheengineersandwe
wereopenfornewpossibilities,even
thoughthatmeantrejectingtheold
solutions,wasinstrumentalinmaking
thisanobleandharmoniousbuilding
withaveryforcefularchitectural
expression.(2)
Designandconstructioninparallel
...soconstructionbeganatthebuilding
sitealongtimebeforewehad
completedthedrawings,and
constructiondrawingswerebeing
producedjustaheadofconstructionas
thebuildinggrew.(2)
Wemadetheworkingdrawingsjust
aheadoftheactualconstructiongoing
onatthebuildingsitesotherefore
developmentwasnotveryfaraheadof
whatwasactuallygoingonatthesiteat
anyonetime.(2)
Backgroundofshipbuilding
Iofcoursehadthemarvellousthing
thatwehadtheshipyardadjacent...You
seebigshipsbeingbuiltwiththeribs
etc.Intheshipyardsmallmenmadeone
bigsteamshipeverysixmonthsand
youwouldseethewholeprocess.(4)
Referringtothemajoreventsinthe
manufacturingofthemullions
Cuttingthelayerstoshapeandplacing
themafterthearchitectsset-out
drawings-anoperationsimilartothe
techniqueusedonashipyard.(3)
86
Researchintocapacityofmachine
Thearchitectthereforehasresearched
intothemaximumcapabilitiesfor
economicalreasonsoffactory
productionandhavingfoundthescope
ofminimumandmaximumcapacityof
themachine,heworkswithinthis
discipline.(3)
Materialsresearch
Evenverywellknownmaterialshave
beensubjecttoseveralyearsofspecial
researchbeforethearchitectwas
satisfiedthattheresultingproductwas
thebestpossibleforitsuse.(3)
Full-sizemock-ups-asbothdesignand
constructiontool
Theseconcrete/graniteelementswere
producedasprefabricatedelements
afterafullsizemock-uphadbeen
made,withvariousopeningspresented
sothateverythingcouldbechecked
beforefinaldecisionsweremade.This
isagainanexampleoftheimportance
ofthefullsizedmock-upasatoolfor
determiningthebestsolutionforthe
building.(2)
88
Models Mock-upswereimportanttoolswhich,
togetherwiththedrawings,enabledus
Theplanningcompriseseventhe
tosolvespecificproblems.
smallestdetailandiscarriedoutinan
unorthodoxmanner,wherethe Forinstancethefirstmock-upforthe
maximumuseofmodelsandprototypes tilingclearlyshowedthatourinitial
securesthatnothingisintroducedinto solutiondidnotwork.(2)
thescheme,beforeithasbeencarefully
Wearrivedatthevarioussolutionsfor
investigatedandhasprovedtobethe
corners,materials,detailsandcolours,
rightsolutiontotheproblem.(3)
throughacombinationofdrawings,
models,samplesandmock-up,always
tryingtoselectthefinestsolutionsfor
Mock-uptosolveproblems
thisbuildingandformyclient.(2)
Referringtohallinteriors
...weneedtomakefull-scalemodelsof
partsofthisstructuretoensurethatthe
proposeddetailsandcoloursare
correct.(2)
Itwasimpossibletodeterminethe
geometryofthetilinguntilfull-size
mock-upshadbeenmade.(2)
87
Workincollaborationwithmanufacturer
Referringtowallcladding:
Theseconstructionandfinishing
techniquesweredevelopedin
collaborationwithamanufacturerovera
periodof18monthsandinvolvedthe
preparationofmanysamplesandthe
constructionoffullsizemock-ups,
beforearesultsuitabletotherigorous
requirementsofthearchitectcouldbe
achieved.(3)
Referringtoglasswalls...
...mock-upsofvitalconnectionsand
detailshavebeenandonestillbeing
producedincooperationwithspecialist
manufacturers.(3)
Runninginperiod
ReferringtoMajorHall:
Themainshapewillbefullytestedina
modelandnecessaryvariationsin
respectofsurfacereflectioncanlater
bemadebychangingthesurface
materialsduringthe6-monthsrunning-
inperiodafterthecompletion.(3)
...theselightswillbeinstalledin
carefullyselectedplacesbasedon
knowledgegleanedfromexperimental
work.(3)
Experimentation
Successfulfloodlightingcanonlybe
achievedthroughexperimentationon
thesurfaceconcerned.(3)
Quotationreferences
1.JrnUtzon,SydneyOperaHouse,
TheSetting5May2000
2.JrnUtzon,SydneyOperaHouse4
June2000
3.JrnUtzon,DescriptiveNarrative,
SydneyOperaHouseJanuary1965
4.JrnUtzon,JanUtzonandRichard
Johnson,PrivateRecordsof
DiscussionMallorca,April,October&
November1999
88
ListofIllustrations 23 ConceptsketchofShells,1958,JrnUtzon,RedBook,MitchellLibrary,
1 SketchtoaccompanyOperaHouseCompetitionScheme,JrnUtzon
StateLibraryofNSWFrontispiece
2 Cloudsoverthesea,JrnUtzon,illustrationfor1962essay,PlatformsandPlateaus,ZodiacNo.14,
24 Presentationmodelofsphericalsolution:DennisWolanskiArchiveoftheSOH,
MitchellLibrary,StateLibraryofNSW
SydneyOperaHouseTrust
3 PreliminarysketchforthevaultsoftheSOH,JrnUtzon,illustrationfor1962essay,
25 Viewofworksite,1964photo:MaxDupain
PlatformsandPlateaus, ZodiacNo.14,MitchellLibrary,StateLibraryofNSW 26 Westelevation,1965photo:MaxDupain(AlternativeinSOHcoll)
4 SketchofJapaneseHouse,JrnUtzon,illustrationfor1962essay,PlatformsandPlateaus,Zodiac 27 Startoftilelidinstallation,photo:MaxDupain,
No.14,MitchellLibrary,StateLibraryofNSW
28 Illustrationfrombrochure,tilemakingfirmHoganasAB
5 CastleofKronborg,photo:LivingArchitecture,Fribourg
29 DetailofRoofTiles,1994,photo:AnthonyBrowell,
6 BennelongPoint,1956,photo:MaxDupain, DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
7 MayanTemple,Chichen,photo:LivingArchitecture,Fribourg 30 VaultCladding,detail,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
8 NSWCoastline,photo:TourismNSW 31 UnderTheGrandStaircase,photo:MaxDupain
9 DancingonTheHouse,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust 32 RoofShells,SouthernView,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
10 ConcertHallPlan,1956,JrnUtzon,YellowBook,MitchellLibrary,StateLibraryofNSW. 33 Podiumsteps,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
11 UpperFloorPlan,MinorHall,JrnUtzon,YellowBook,MitchellLibrary,StateLibraryofNSW. 34 AerialphotographofSydneyHarbour,1995,photo:DepartmentofLand&WaterConservation
12 ViewofWorks,October,1962,photo:DennisWolanskiArchiveoftheSOH, 35 SectionDemonstratingTheGeometricalPrinciple,MajorHall,JrnUtzon,ZodiacNo.14,
SydneyOperaHouseTrust MitchellLibrary,StateLibraryofNSW
13 Monumentalsteps,presentationmodel,1964,photo:MaxDupain 36 WorkontheGrandStaircaseandthePlatform,autumn1962,photo:MaxDupain
14 Auditorium,presentationmodel,1964,photo:MaxDupain 37 ViewofSydneyOperaHouse,photo:OsamuMurai
15 Exterior,SydneyOperaHouse,1993,photo:DennisWolanskiArchiveoftheSOH, 38 StudytoillustrateDesignPrinciple- CrossSectionofNaturesElements,photo:JrnUtzon
39 ModelofAuditorium,photo:MaxDupain,
16 LongitudinalSectionthroughMajorHallandPlanofShells,MajorHall,JrnUtzon,
40 PartialElevation,North-facingGlassWall,JrnUtzon,YellowBook,MitchellLibrary,
ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
StateLibraryofNSW.
17 Exterior,SydneyOperaHouse,1989,DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
41 HorizontalSectionsofaMullion(top)andBreakdownoftheGlassWallsIntoStandardUnits,
18 HenryInghamAshworth,ProfofArchitectureUniversityofSydney,withJrnUtzonatHellbaek, 1964,JrnUtzon,ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
Sept.1960,photo:MitchellLibrary,StateLibraryofNSW
42 ColourStudyforDecorationofAuditorium,JrnUtzon
43 ColourStudyforDecorationofAuditorium,JrnUtzon
44 GeometricPrinciplesforAcousticalReflectors,MinorHall,JrnUtzon:ZodiacNo.14,
21 Axonometricviewofmajorhallroofunderconstruction,OveArup&Partners, MitchellLibrary,StateLibraryofNSW
22 ModelofshellroofribsandManufacturingofpre-fabricatedshell-ribsegments,1965,photos:Zodiac 45 StudytoillustrateDesignPrinciple- CrossSectionofNaturesElements,photo:JrnUtzon
No.14,MitchellLibrary,StateLibraryofNSW
46 StudytoillustrateDesignPrinciple- CrossSectionofNaturesElements,photo:JrnUtzon
89
47 SitePlan,JrnUtzon:PlansofSOH,Oct1958-1973StateRecordsNSW 68 Apartially-tiledvault,photo:MaxDupain
48 SydneyOperaHouse,evening,photo:DennisWolanskiArchiveoftheSOH, 69 Storageofpre-fabricatedtilelids,1964,photo:MaxDupain,ZodiacNo.14,MitchellLibrary,State
SydneyOperaHouseTrust LibraryofNSW
49 SydneySymphonyOrchestramembersandSydneyOperaHouse, 70 Paneltypes,photo:MaxDupain,ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
photo:SydneySymphonyOrchestra
71 GeometricPrinciplesforAcousticalReflectors,MinorHall,JrnUtzon,ZodiacNo.14,MitchellLibrary,
50 NewYearsEve,1999,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust StateLibraryofNSW
51 Aerialview,SydneyOperaHouse,photo:NSWDepartmentofPublicWorks 72 GeometricPrinciplesforAcousticalReflectors,MinorHall,JrnUtzon,ZodiacNo.14,MitchellLibrary,
52 PanoramicViewofthesiteatthetimeofUtzonsDeparture,1966,photo,:MaxDupain
StateLibraryofNSW
53 VaultCladding,detail,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
73 Finalshellgeometry,1961,JrnUtzon,YellowBook,cover,MitchellLibrary,StateLibraryofNSW
54 SculpturalForm,RoofShells,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
74 Presentationmodelofsphericalsolution,DennisWolanskiArchiveoftheSOH,
55 EastelevationandConcertPlan,1956,JrnUtzon,CompetitionEntry,
YellowBook,MitchellLibrary,StateLibraryofNSW.
56 Aerialview,OpeningofSOH,20October1973,photo:
DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
57 LongitudinalSection,MajorHallwithTimberCeiling,JrnUtzon,
YellowBook,MitchellLibrary,StateLibraryofNSW.
77 Viewofworksite,1964,photo:MaxDupain
58 Presentationmodel,Concourseview,1964,photo:MaxDupain
78 Corridormockup,photo:MaxDupain,ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
59 OperaHouseOnBennelongPoint,photo:DavidMoore
79 DiagramillustratingCorridorCeilingSystem,ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
60 SectionalmodelofMajorHall,1965,photo:MaxDupain
61 UpperFloorPlan,MajorHall,JrnUtzon,YellowBook,MitchellLibrary,StateLibraryofNSW
62 SydneyOperaHouseonBennelongPoint,photo:MaxDupain
82 AbovetheTiers,1965,photo:MaxDupain
63 Cloudsoverthesea,JrnUtzon,illustrationfor1962essay,PlatformsandPlateaus,ZodiacNo.14,
83 Detailsoftile-lids,OveArup&Partners
MitchellLibrary,StateLibraryofNSW 84 Workontheplatform,1962,photo:MaxDupain
64 PreliminarysketchofvaultsoftheSOH,JrnUtzon,illustrationfor1962essay,Platformsand 85 VaultCladding,detail,photo:DennisWolanskiArchiveoftheSOH,SydneyOperaHouseTrust
Plateaus,ZodiacNo.14,MitchellLibrary,StateLibraryofNSW
86 Section,MajorHall,July1964,JrnUtzon,PlansofSOH,Oct1958-1973StateRecordsNSW
65 DetailofRoofTiles,1994,photo:AnthonyBrowell:DennisWolanskiArchiveoftheSOH,Sydney
87 SamplesandprototypesofthecladdingfabricatedingranitechipbyConcreteIndustries,
OperaHouseTrust
photo:MitchellLibrary,StateLibraryofNSW
66 LongitudinalSection,MajorHallwithTimberCeiling,JrnUtzon,YellowBook,MitchellLibrary,State
88 MinorHall,woodenmodelofthesolidvolumes,photo:MaxDupain
LibraryofNSW
67 PrecastSpheroidallidelementprinciplesofthevaults,JrnUtzon,YellowBook,MitchellLibrary,State
LibraryofNSW
90
91

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