nomination by the Government of Australia - Sydney Opera House
nomination by the Government of Australia - Sydney Opera House
nomination by the Government of Australia - Sydney Opera House
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Utzon’s design modifi ed <strong>the</strong> established internal<br />
circulation patterns, seating layouts and positioning<br />
<strong>of</strong> technological and functional requirements <strong>of</strong> <strong>the</strong><br />
conventional arts centre (Tombesi 2005). The design<br />
also provided a highly original response to <strong>the</strong> harbour<br />
setting, inspired <strong>by</strong> <strong>the</strong> site, people and nature toge<strong>the</strong>r<br />
with an assortment <strong>of</strong> <strong>the</strong>mes refi ned from o<strong>the</strong>r<br />
architecture, particularly ancient forms and styles<br />
(Weston 2004a: 28, 34–35). The jury was impressed<br />
that <strong>the</strong> ‘white sail-like forms <strong>of</strong> <strong>the</strong> shell vaults relate<br />
as naturally to <strong>the</strong> harbour as <strong>the</strong> sails <strong>of</strong> its yachts’<br />
(Murray 2004: 10). Ano<strong>the</strong>r important aspect was <strong>the</strong><br />
design <strong>of</strong> <strong>the</strong> massive open platform and cave-like<br />
shells to entice visitors to inhabit and explore <strong>the</strong>m<br />
(Weston 2004a: 34–36). The <strong>Sydney</strong> <strong>Opera</strong> <strong>House</strong> was<br />
very much designed to be a people’s building. These<br />
and o<strong>the</strong>r outstanding elements <strong>of</strong> <strong>the</strong> design are<br />
described below.<br />
Utzon’s unique design was acclaimed as <strong>the</strong> work<br />
<strong>of</strong> a genius in <strong>Australia</strong> and internationally but it also<br />
attracted critics. The competition jury was convinced<br />
that Utzon’s design was ‘<strong>the</strong> most original and creative<br />
submission … capable <strong>of</strong> being one <strong>of</strong> <strong>the</strong> great<br />
buildings <strong>of</strong> <strong>the</strong> world’ (New South Wales <strong>Government</strong><br />
1956: 2). Jury member Eero Saarinen was, reportedly,<br />
immediately alert to <strong>the</strong> brilliance <strong>of</strong> Utzon’s design and<br />
played a role in convincing <strong>the</strong> jury <strong>of</strong> its uniqueness.<br />
3.3 3.4<br />
Figure 3.3 Jørn Utzon’s studio in<br />
Denmark, 1960<br />
The design was hailed as exhilarating and brilliant<br />
in <strong>Australia</strong> and overseas. For Saarinen, it clearly<br />
was ‘a work <strong>of</strong> genius’ (quoted in Weston 2002:<br />
114). Inevitably, <strong>the</strong> originality <strong>of</strong> <strong>the</strong> design also<br />
drew detractors from some world-famous architects<br />
and engineers, such as Mies van der Rohe, Frank<br />
Lloyd Wright, Pier Luigi Nervi and Felix Candela,<br />
on architectural grounds and as an unbuildable<br />
masterpiece (Weston 2002: 114, 118; Murray<br />
2004: 11). Utzon’s groundbreaking design did pose<br />
architectural, structural and technological challenges<br />
that pushed <strong>the</strong> boundaries <strong>of</strong> creativity and science.<br />
Figure 3.4 Utzon’s sketches <strong>of</strong> <strong>the</strong> shells, 1961<br />
…his public architecture always seeks a<br />
heroic dimension. Utzon, like a new Hercules<br />
constantly engaged in fi ghting <strong>the</strong> Nemean<br />
Lion or winning <strong>the</strong> Golden Apples <strong>of</strong> <strong>the</strong><br />
Hesperides, exerts himself to resolve <strong>the</strong><br />
seemingly impossible: prefabricating <strong>the</strong><br />
fantastical forms <strong>of</strong> <strong>the</strong> <strong>Sydney</strong> ‘shells’; giving<br />
<strong>the</strong> cement c<strong>of</strong>fering in Silkeborg <strong>the</strong> s<strong>of</strong>tness<br />
and delicacy <strong>of</strong> a mollusk; weightlessly<br />
suspending <strong>the</strong> ro<strong>of</strong>s in Elviria and Zurich’<br />
(Moneo 2004: 88).<br />
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