Outstanding Universal Value
The Sydney Opera House constitutes a masterpiece of
20th century architecture. Its significance is based on its
unparalleled design and construction; its exceptional engineering
achievements and technological innovation and its position as a
world-famous icon of architecture. It is a daring and visionary
experiment that has had an enduring influence on the emergent
architecture of the late 20th century. Utzon's original design concept
and his unique approach to building gave impetus to a collective
creativity of architects, engineers and builders. Ove Arup's engineering
achievements helped make Utzon's vision a reality. The design
represents an extraordinary interpretation and response to the setting
in Sydney Harbour. The Sydney Opera House is also of outstanding
universal value for its achievements in structural engineering and
building technology. The building is a great artistic monument and an
icon, accessible to society at large.
Criterion (i): The Sydney Opera House is a great
architectural work of the 20th century. It represents multiple strands
of creativity, both in architectural form and structural design, a great
urban sculpture carefully set in a remarkable waterscape and a world
famous iconic building.
All elements necessary to express the values of the
Sydney Opera House are included within the boundaries of the nominated
area and buffer zone. This ensures the complete representation of its
significance as an architectural object of great beauty in its
waterscape setting. The Sydney Opera House continues to perform its
function as a world-class performing arts centre. The Conservation Plan
specifies the need to balance the roles of the building as an
architectural monument and as a state of the art performing centre, thus
retaining its authenticity of use and function. Attention given to
retaining the building's authenticity culminated with the Conservation
Plan and the Utzon Design Principles.
The Sydney Opera House was included in the National
Heritage List in 2005 under the Environment Protection and Biodiversity
Conservation Act 1999 and on the State Heritage Register of New South
Wales in 2003 under the Heritage Act 1977. Listing in the National
Heritage List implies that any proposed action to be taken inside or
outside the boundaries of a National Heritage place or a World Heritage
property that may have a significant impact on the heritage values is
prohibited without the approval of the Minister for the Environment and
Heritage. A buffer zone has been established.
The present state of conservation is very good. The
property is maintained and preserved through regular and rigorous repair
and conservation programmes. The management system of the Sydney Opera
House takes into account a wide range of measures provided under
planning and heritage legislation and policies of both the Australian
Government and the New South Wales Government. The Management Plan for
the Sydney Opera House, the Conservation Plan and the Utzon Design
Principles together provide the policy framework for the conservation
and management of the Sydney Opera House.
Historical Description
A major cultural centre for Sydney and its siting at Bennelong
Point had been discussed since the 1940s. In 1956 the New South Wales
Government called an open-ended international design competition and
appointed an independent jury, rather than commissioning a local firm.
The competition brief provided broad specifications to attract the best
design talent in the world; it did not specify design parameters or set a
cost limit. The main requirement of the competition brief was a design
for a dual function building with two performance halls.
The competition generated enormous interest in Australia and
overseas. The New South Wales Government’s decision to commission Jørn
Utzon as the sole architect was unexpected, bold and visionary. There
was scepticism as to whether the structure could be built given Utzon’s
limited experience, the rudimentary and unique design concept and the
absence of any engineering advice. The competition drawings were largely
diagrammatic, the design had not been fully costed and neither Utzon
nor the jury had consulted a structural engineer. Utzon’s design concept
included unprecedented architectural forms and demanded solutions that
required new technologies and materials. The New South Wales Government
also faced public pressure to select an Australian architect.
The Sydney Opera House is often thought of as being constructed in
three stages and this is useful in understanding the history of the
three key elements of its architectural composition: the podium (stage
1: 1958–1961), the vaulted shells (stage 2: 1962–1967) and the glass
walls and interiors (stage 3: 1967–1973). Architect Jørn Utzon conceived
the overall design and supervised the construction of the podium and
the vaulted shells. The glass walls and interiors were designed and
their construction supervised by architect Peter Hall supported by
Lionel Todd and David Littlemore in conjunction with the then New South
Wales Government Architect, Ted Farmer. Peter Hall was in conversation
with Utzon on various aspects of the design for at least eighteen months
following his departure. Ove Arup & Partners provided the
engineering expertise for all three stages of construction.
Design and construction were closely intertwined. Utzon’s unique
design together with his radical approach to the construction of the
building fostered an exceptional collaborative and innovative
environment. His collaborative model marked a break from conventional
architectural practice at the time. The design solution and construction
of the shell structure took eight years to complete and the development
of the special ceramic tiles for the shells took over three years. The
Sydney Opera House became a testing laboratory and a vast, open-air
pre-casting factory.
The Sydney Opera House took sixteen years to build; this was six
years longer than scheduled and ten times more than its original
estimated cost. On 20 October 1973 the Sydney Opera House was officially
opened by Queen Elizabeth II. After inauguration, new works were
undertaken over time. Between 1986 and 1988 the land approach and
forecourt were reconstructed and the lower concourse developed under the
supervision of the then New South Wales Government Architect, Andrew
Andersons, with contributions by Peter Hall.
Between 1998 and 1999 the recording and rehearsal room was converted
into two areas: an assembly area for the orchestra and the Studio, a
revitalised performance space for the presentation of innovative music
and performing arts. In 1998, in accordance with the celebration of the
25th anniversary of inauguration, the Sydney Opera House Trust appointed
Sydney architect Richard Johnson to advise on future development of the
site and to establish planning principles. Through Johnson, the Sydney
Opera House Trust began negotiations to reconcile with Utzon and to
re-engage him with the building in an advisory capacity. In 1999 Utzon
formally accepted Premier Carr’s invitation to re-engage with the
project by setting down design principles that outline his vision for
the building and explain the principles behind his design. Over three
years he worked with his architect son and business partner, Jan Utzon,
and Richard Johnson to draw up his design principles for the Sydney
Opera House, including the refurbishment of the reception hall,
construction of the western loggia, exploration of options for improving
the Concert Hall acoustics, improving services to the forecourt to
support performances, modification of the orchestra pit and interior of
the Opera Theatre. In 2002 The Sydney Opera House Trust released the
Utzon Design Principles. In 2004 refurbishment of the Utzon Room
(formerly known as the reception hall) was completed.
Source: Advisory Body Evaluation
