![]() ![]() Utzon’s heavy focus on R&D and collaboration with contractors was not understood by an Anglo culture and its highly contractual form of procurement that often works to escalate conflict – a single drawing for Utzon that contained all the information necessary to build a major facade element in collaboration with a contractor could not be measured by a system demanding fine-grained schedules. His tendency to hold meetings that were often not documented bar the odd sketch on a tablecloth left little evidence for later argument and, coupled with his penchant for long-haul travel that placed him literally out of radio contact – while his collaborators in the office and Arup often had to try and solve complex issues – did little to help and undermined the arguments of those seeking to defend him. The intuitive and charismatic Danish architect simply wasn’t armed to combat a new Liberal minister whose daughter had, on election night, boasted that her father would be sacking the architect. A combination of political inexperience and perhaps even a naivety born of cultural differences helped those building a case against him to mount an argument for his removal. While it is tragic that Utzon is blamed for these deficiencies, the impact of his failures regarding client management and response to the Australian procurement context did not help his cause. Layouts from the original feature have been reproduced by F1 colour The Sydney Opera House featured on the cover of AR September 1973, including the final plans. This period also included a change in brief, most famously switching the opera and concert halls – and resulting in the dismantling and trashing of an entire flytower (worth a million Australian dollars in 1966). ![]() These intergenerational political failures around the treatment of the building and its author (and the cultural conditions underpinning them) have been covered exhaustively in a series of books and films. We know that the project lost its way due to a number of client changes – a key factor being the forced resignation of major advocate Eugene Goossens following pornography charges. The vexed relationship between the building and its owner, and protocols around how it should be treated, continue more than half a century since Utzon won the competition in 1956. Public condemnation was swift, but the projections went ahead, approved by a Liberal (conservative) government – the same party that sacked the building’s architect Jørn Utzon in 1966. ![]() Image courtesy of Mark Metcalfe / Getty Images The leader of the Liberal Party Gladys Berejiklian overruled Opera House management to allow Racing NSW to promote the Everest Cup on the sails of the iconic venue. The shell segments could be separated into individual components, prefabricated and then assembled on site.In October last year, large crowds gathered to protest against racing advertising on the Opera House sails. Utzon realised that all segments of the roof could come from a single sphere. By slicing spherical triangles from the orange peel, Utzon could create a variety of shells. Utzon’s assistant, Helge Hjertholm, recalled that early one morning in 1961, Utzon came into his office with an orange. It was the era before computer-aided design and the architectural model demonstrates how Utzon solved a construction design problem. For the architect’s vision to be successful, untried structural solutions had to be devised throughout the construction. Ashworth had been one of the judges in the design competition and was involved in the building’s construction. Utzon’s wooden design model for the Sydney Opera House is part of a collection that was presented to the National Library of Australia by Professor Henry Ingram Ashworth (1907–1991). In 1957, Danish architect Jørn Utzon (1918–2008) was announced as the winner of an international design competition for a Sydney opera house, to be built at Bennelong Point.
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