nomination by the Government of Australia - Sydney Opera House

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112 Part 10. Appendices 10.D TIMELINE OF THE SYDNEY OPERA HOUSE AND ITS SITE Figure 10.4 Figure 10.5 1000 BC The site of the Sydney Opera House is known to Aboriginal people as ‘Jubgalee’ (Geographical Names Board of NSW 2005). A midden (collection of shells and other materials indicating a former Aboriginal camp site) is later recorded on the site. 1788–1789 A British penal colony is established by Governor Phillip who, frustrated with his lack of success in making contact with the indigenous people, seizes two Aboriginal men—Coleby and Bennelong. 1790–1813 Governor Phillip accedes to Bennelong’s request and builds him a small hut at the extremity of the point. Since this time the headland has been known as Bennelong Point. Bennelong dies in 1813, alienated from both Aboriginal and European cultures. 1818 Fort Macquarie is built on Bennelong Point providing a picturesque focal point on the harbour throughout the 19th century (Kerr 1993: 9). Figure 10.4 Portrait of Bennelong Figure 10.5 Fort Macquarie at the end of Bennelong Point in 1842
Figure 10.6 1902 Fort Macquarie is replaced by a tram shed designed in a fortified Gothic style (to continue the picturesque associations of the site). Figure 10.6 View down Macquarie Street to the tram shed at Bennelong Point Figure 10.7 Figure 10.8 Figure 10.9 Figure 10.10 Figure 10.11 1932 The Sydney Harbour Bridge is opened. 1948 Eugene Goossens, conductor of the Sydney Symphony Orchestra, proposes the building of a performing arts centre on Bennelong Point with an auditorium to seat up to 4000 people. 1952 New South Wales Premier Cahill announces his newly elected Government’s intention to build an opera house. 1954 Premier Cahill appoints the Opera House Committee to advise on building an opera house. The committee recommends the redundant Bennelong Point tram shed and park as the preferred site and that an international competition be held to select the design. Figure 10.7 The Sydney Harbour Bridge nearing completion 1956 The New South Wales Government announces the international competition for the design of a national opera house to be built on Bennelong Point. Mandatory requirements are a major hall to seat 3000 to 3500 persons for grand opera, ballet and concerts and a minor hall to seat approximately 1200 persons for chamber works and drama. 1957 Danish architect Jørn Utzon is declared the unanimous winner of the competition with his visionary design that amazes both the architectural fraternity and the public. Utzon visits the site for the first time then begins work on plans in Denmark in collaboration with Ove Arup & Partners. The New South Wales Government announces the Opera House Lottery to fund construction. Over 16 years the lottery raises more than 90 per cent of the A$102 million ultimately expended on building the Sydney Opera House. 1958 The foundation stone is laid by Premier Cahill (the stone is now positioned on the first landing of the great ceremonial stairway). Utzon and Ove Arup & Partners begin testing concepts for the construction of the roof shells. 1959 Construction of the Sydney Opera House begins at Premier Cahill’s insistence before Utzon’s designs for the vaulted shells are finalised. This requires the full extent of the functions of the complex to be worked out as the project materialises. Construction begins with the removal of over 30 000 cubic metres of rock and rubble from Bennelong Point. 1959–1963 The foundations and podium are constructed by building contractor Civil & Civic. 1961 The Sydney Opera House Trust is established by Act of the New South Wales Parliament. Utzon and Ove Arup & Partners achieve the ‘spherical solution’ for the roof shells after three years of concept development. 1962–1967 Stage 2: design and construction of the shells with building contractor the Hornibrook Group takes place. Cost and time overruns in the construction of the Sydney Opera House cause tension and public discussion. 1965 A newly elected government takes office in New South Wales with an agenda to limit the construction cost and time overruns. 1966 Jørn Utzon leaves the project and departs from Sydney. The podium has been built, the roof shells are almost completed and the first roof tiles are in place. Majority public opinion overwhelmingly supports Utzon’s re-engagement and public meetings are held to protest his departure. The New South Wales Government appoints Sydney architects Peter Hall, Lionel Todd and David Littlemore to take over the design and supervision of the Sydney Opera House, with Hall having responsibility for design. Ove Arup & Partners, the Hornibrook Group and other tradespeople continue on the project. Following Utzon’s departure, a new brief from the Australian Broadcasting Corporation (the premier commercial user of the venue) necessitates major changes to the design of the interiors of the two halls. Figure 10.8 Jørn Utzon (third from the left) at the Sydney Opera House site in 1957 Figure 10.9 The podium under construction Figure 10.10 Jørn Utzon with the spherical model for the shells Figure 10.11 The Sydney Opera House takes shape
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SYDNEY OPERA HOUSE NOMINATION BY TH
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SYDNEY OPERA HOUSE NOMINATION BY TH
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4 PREFACE Australia is pleased to p
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1.A COUNTRY Country - Australia 1.B
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The topographic map shows the locat
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PART 2. DESCRIPTION 11
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14 Part 2. Description 2.2 The comp
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16 Part 2. Description 2.6 2.7 2.8
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18 Part 2. Description The glass wa
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20 Part 2. Description 2.19 Further
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22 Part 2. Description 2.23 Interna
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24 Part 2. Description The Sydney O
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… we’re here to nudge forward t
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Utzon’s design modifi ed the esta
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In the Sydney Opera House Jørn Utz
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Utzon’s reading and use of histor
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3.17 3.18 Utzon’s genius is manif
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The podium The construction of the
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3.24 Figure 3.24 Arups’ summary o
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3.28 engineers Jorg Schlaich and We
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3.32 The Sydney Opera House holds a
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3.34 3.35 The setting of Bennelong
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3.36 qualities and precise, geometr
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3.39 3.40 3.41 Masterpieces of the
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3.43 also inspired by the laws of n
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3.45 3.D INTEGRITY AND AUTHENTICITY
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Materials and substance The use and
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PART 4. STATE OF CONSERVATION AND F
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60 Part 4. State of conservation an
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Page 67 and 68: 5.A OWNERSHIP The Sydney Opera Hous
Page 69 and 70: 5.C MEANS OF IMPLEMENTING PROTECTIV
Page 71 and 72: 5.2 Sydney Regional Environmental P
Page 73 and 74: 5.3 Sydney Opera House: a plan for
Page 75 and 76: 5.5 5.6 • • • • • An on-s
Page 77: 6PART 6. MONITORING 75
Page 80 and 81: 78 Part 6. Monitoring 6.2 Figure 6.
Page 82 and 83: 80 Part 6. Monitoring 6.C RESULTS O
Page 85 and 86: 7.A PHOTOGRAPHS, SLIDES, IMAGE INVE
Page 87 and 88: 7.B TEXTS RELATING TO PROTECTIVE DE
Page 89 and 90: Baume, M 1967, The Sydney Opera Hou
Page 91 and 92: Hall, P 1981, Great planning disast
Page 93 and 94: Sommer, D, Stöcher, H & Weisser, L
Page 95: 893 PART 8. CONTACT INFORMATION
Page 98 and 99: 96 Part 8: Contact information 8.C
Page 100 and 101: 98 PART 9. SIGNATURE ON BEHALF OF T
Page 103 and 104: 10.A BIOGRAPHIES OF JØRN UTZON AND
Page 105 and 106: Awards In addition to the awards de
Page 107 and 108: 10.3 Ove Arup (1895-1988) Ove Nyqui
Page 109 and 110: 10.B LIST OF ILLUSTRATIONS Front co
Page 111 and 112: Figure 3.30 Photograph by Max Dupai
Page 113: Other contributors Sydney Opera Hou
Page 117 and 118: B 10.E PLANS, SECTIONS AND ELEVATIO
Page 119 and 120: EASTERN ELEVATION WESTERN ELEVATION
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nomination by the Government of Australia - Sydney Opera House

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