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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54<br />
Part 3. Justifi cation for inscription<br />
3.46<br />
Utzon worked for several years on <strong>the</strong> complex designs<br />
for <strong>the</strong> major and minor halls and <strong>the</strong> glass walls which<br />
he envisioned would be suspended like waterfalls to<br />
close <strong>the</strong> shells. These elements were fi nally designed<br />
and built <strong>by</strong> Hall Todd & Littlemore amid public<br />
controversy (see Part 2.A). Conservation issues have<br />
arisen from this multiple authorship. However, Utzon’s<br />
re-engagement in 1999 has allowed many <strong>of</strong> <strong>the</strong><br />
issues to be discussed and resolved with far greater<br />
understanding <strong>of</strong> <strong>the</strong> building’s design than is typically<br />
<strong>the</strong> case. In recent years, detailed attention has been<br />
given to ways to conserve <strong>the</strong> building and retain its<br />
au<strong>the</strong>nticity which culminated in <strong>the</strong> Conservation<br />
Plan (SOH) and <strong>the</strong> Utzon Design Principles. These<br />
principles ‘can be used to clarify original design intent,<br />
to manage proposals for change and infl uence planning<br />
controls for <strong>the</strong> precinct’ (Joseph Skrzynski quoted in<br />
Utzon 2002: 3). The principles are described in detail in<br />
Parts 4, 5 and 6.<br />
Figure 3.46 The tiled shells<br />
The Conservation Plan (SOH) provides guidance for<br />
defi ning what is integral to <strong>the</strong> <strong>Sydney</strong> <strong>Opera</strong> <strong>House</strong> as<br />
a built structure. It includes many aspects <strong>of</strong> <strong>the</strong> Hall<br />
Todd & Littlemore completion work which have become<br />
central to <strong>the</strong> successful functioning and success <strong>of</strong> <strong>the</strong><br />
<strong>Sydney</strong> <strong>Opera</strong> <strong>House</strong>. The Conservation Plan (SOH)<br />
explains that <strong>the</strong> policies in <strong>the</strong> plan are framed to fulfi l<br />
many purposes, but that <strong>the</strong> fi rst one is to ‘recognise<br />
<strong>the</strong> primacy <strong>of</strong> Utzon’s vision for <strong>the</strong> place and <strong>the</strong><br />
value <strong>of</strong> Hall’s hierarchy within <strong>the</strong> building which<br />
distinguishes <strong>the</strong> treatment <strong>of</strong> major public spaces,<br />
minor public spaces and performers’ and staff areas,<br />
and service areas’ (Kerr 2003: 41).