Sydney Opera House

Bennelong Point, Sydney

1957-63 Joern Utzon (Stage 1)

1963-73 (NSWGA), Hall Todd & Littlemore

(Stage 2) - interiors and glass walls)

Engineers: Ove Arup & Partners

An extraordinary site on Sydney Harbour at Bennelong Point, an ambitious state Premier (Joseph J Cahill), a visiting American architect (Eero Saarinen) and a young Dane’s billowy sketches (Joern Utzon) were the key factors which generated one of the world’s most important modern buildings. Designed at the vast scale of the harbour itself, its low edges contain enough visual appeal for human interest. More remarkable is that the scheme makes no reference to history or to classical architectural forms. The roof is more important than the walls, consequently the language of walls - columns, divisions, windows and pediments - has been effectively dispensed with. As a public building, it conceals its usage in its lack of historical associations, and restores the concept of the ‘monument’ as being acceptable in social terms.

The Sydney Opera House also embodies timeless popular metaphors. The building’s organic shape and lack of surface decoration have made it both timeless and ageless. Moreover, it demonstrates how buildings can add to environmental experience rather than detract from it - something of spiritual value independent of function. The building and the setting look orchestrated, and the synergy between the setting and the building make it appear that the scheme actually involved flooding the harbour valley to set the building off to best advantage.

Despite so much richness, the building has had virtually no influence on the shape and form of Australian buildings which followed. It remains something of an enigma which crowns the silent collapse of Western Classical architecture from being the one language for great public buildings.

Joern Utzon’s historic resignation causes a furore and divided the Sydney architecture profession. There were rallies and marches to Sydney Town Hall led by architects such as Peter Killar and Harry Seidler; other architects resigned their profession and became teachers, chefs, film makers and artists in protest, and the Victorian Chapter of the RAIA (but not NSW) black-banned the replacement of Uzton by an Australian architect. However, as with Governor Macquarie, Greenway, Light, Barnet and Griffin before him, Utzon’s vision had exceeded the norm. The immense difficulties of achievement were seen as a waste and the importance of controlling the state’s expenditure won the day. On 19 April 1966, the new architectural team (Lionel Todd, David Littlemore, and Peter Hall) was appointed in a whirlpool of debate.