nomination by the Government of Australia - Sydney Opera House

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72 Part 5. Protection and management of the property 5.F SOURCES AND LEVELS OF FINANCE The Sydney Opera House is fi nanced from a number of different sources. The administration and maintenance of the Sydney Opera House and its operations are funded by New South Wales Government grants, earned income from the provision of facilities and services by the Sydney Opera House, corporate sponsorship and philanthropy. An annual endowment for the operations of the Sydney Opera House Trust is provided by the New South Wales Ministry for the Arts. In the fi nancial year 2005–06 this endowment totalled A$14.3 million. The ministry also funds ongoing building and maintenance requirements. In 2005–06 these funds totalled A$19.6 million. Capital funding may also be provided by the New South Wales Ministry for the Arts, on a project-by-project basis. In 2005–06 these funds totalled A$7.1 million. In addition, the Australian Government may provide fi nancial assistance for the identifi cation, promotion, protection or conservation of a National Heritage place through initiative or incentive programs. 5.4 5.G SOURCES OF EXPERTISE AND TRAINING IN CONSERVATION AND MANAGEMENT TECHNIQUES The Sydney Opera House Trust is in the privileged position of managing the property with policies developed by Australia’s most respected conservation consultant, James Semple Kerr, (the Conservation Plan (SOH)), and with the benefi t of the principles set down by the building’s creator, Jørn Utzon, (the Utzon Design Principles). The Sydney Opera House Trust established a conservation council in 1996 to provide specialist advice about issues of heritage signifi cance. The Sydney Opera House Conservation Council includes representatives from the Sydney Opera House Trust, the New South Wales Government Architect’s offi ce, eminent government and private sector specialists with recognised expertise in architecture, heritage and conservation, engineering and performing arts, and the Sydney Opera House’s executive management. Their key responsibilities are to conduct annual inspections and review signifi cant works, the Conservation Plan (SOH) and expenditures. Maintenance, day-to-day operations and strategic planning all draw on a range of expertise to assess the heritage implications of proposed activities. Considerable ‘in-house’ expertise and experience has been accumulated, particularly in the professional and technical areas. This knowledge has been passed on to new staff. Where appropriate, new and existing staff undertake training in the heritage values of the property and their protection. Heritage expertise and appropriate training are provided from various other sources which are outlined as followed. Figure 5.4 The Sydney Opera House Trust Conservation Council, 2005
5.5 5.6 • • • • • An on-site heritage consultant provides advice on the development of maintenance techniques for concrete, bronze and other signifi cant materials. Heritage architects provide advice on a wide range of issues from asset maintenance strategies to heritage impact assessments for capital works. Building fabric and services consultants and contractors have expertise in heritage buildings. The New South Wales Heritage Offi ce provides advice and acts as a conduit to specialist expert services in conservation and management techniques as well as training. The Australian Government Department of the Environment and Heritage provides advice on the identifi cation, promotion, protection and conservation of National Heritage places and World Heritage properties. 5.H VISITOR FACILITIES AND STATISTICS It is estimated that over four million people visit the Sydney Opera House site annually. Over one million of these visitors attend more than 1700 live performances per annum, making it one of the world’s busiest performing arts venues. The Sydney Opera House site also functions as a grand public gathering place and is host to a variety of function-specifi c facilities as well as general services. The large public events of New Year’s Eve attract around 10 000 people to the site to celebrate and watch the fi reworks which are broadcast internationally. The exterior of the building is accessible to the public at all times. During the day, guided tours of the interior regularly attract large numbers of international and national tourists as well as Australian school children. Tours are available daily which explain the building’s history and architecture. Figure 5.5 Guided tours are conducted by the Sydney Opera House Trust. Venues There are eight primary venues at the Sydney Opera House. These are the Concert Hall (maximum seating capacity 2679); the Opera Theatre (maximum seating capacity 1507); the Drama Theatre (maximum seating capacity 544); the Playhouse (maximum seating capacity 398); the Studio (seating capacity from 220–318); the Exhibition Hall (maximum standing capacity up to 300); the Utzon Room (a multi-purpose venue, maximum capacity 270 people); and the forecourt (an open air venue south of the shells which can accommodate up to 6000 people). Restaurants There are a variety of restaurants, cafés and bars on the site catering to a diversity of experiences from fi ne dining to casual outdoor eating. These food and beverage outlets serve over two million customers each year. Shopping Retail shops at the Sydney Opera House sell gifts, souvenirs and Sydney Opera House offi cially licensed products. These retail outlets serve an estimated 200 000 customers each year. Accessibility The exterior areas of the Sydney Opera House site are accessible at all times. The Sydney Opera House building is open daily except for Christmas Day and Good Friday. The internal performance spaces are accessible for performances and tours. Public transport (bus, ferry, taxi and train) is available within a short walking distance. A free shuttle service operates between Circular Quay and the Sydney Opera House for elderly and less mobile visitors. An underground car park accommodates 1200 cars with covered pedestrian access to the lower concourse. Figure 5.6 The Sydney Opera House web site includes a virtual tour. 73
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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
Page 24 and 25: 22 Part 2. Description 2.23 Interna
Page 26 and 27: 24 Part 2. Description The Sydney O
Page 29 and 30: … we’re here to nudge forward t
Page 31 and 32: Utzon’s design modifi ed the esta
Page 33 and 34: In the Sydney Opera House Jørn Utz
Page 35 and 36: Utzon’s reading and use of histor
Page 37 and 38: 3.17 3.18 Utzon’s genius is manif
Page 39 and 40: The podium The construction of the
Page 41 and 42: 3.24 Figure 3.24 Arups’ summary o
Page 43 and 44: 3.28 engineers Jorg Schlaich and We
Page 45 and 46: 3.32 The Sydney Opera House holds a
Page 47 and 48: 3.34 3.35 The setting of Bennelong
Page 49 and 50: 3.36 qualities and precise, geometr
Page 51 and 52: 3.39 3.40 3.41 Masterpieces of the
Page 53 and 54: 3.43 also inspired by the laws of n
Page 55 and 56: 3.45 3.D INTEGRITY AND AUTHENTICITY
Page 57 and 58: Materials and substance The use and
Page 59: PART 4. STATE OF CONSERVATION AND F
Page 62 and 63: 60 Part 4. State of conservation an
Page 64 and 65: 62 Part 4. State of conservation an
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: 5.3 Sydney Opera House: a plan for
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 and 114: Other contributors Sydney Opera Hou
Page 115 and 116: Figure 10.6 1902 Fort Macquarie is
Page 117 and 118: B 10.E PLANS, SECTIONS AND ELEVATIO
Page 119 and 120: EASTERN ELEVATION WESTERN ELEVATION
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