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The north shells are now taller, and the south ones shorter.
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He is rushing with the preparation of additional drawings and a model (the first one) to take with him for his first visit to Sydney. The competition had been awarded on January that year and Utzon had come up as the winner. Left: Theatre right: Opera Hall building. From left to right: restaurant, Opera and Theatre buildings. At the other side (south, looking to the city) they are part of the entrance space receiving the visitors. At one side (north, overlooking the bay) the glazed canopies cover the space of the back foyers. What did Utzon imagine for those large gable ends behind the shells? Around the end of the competition (see above) he quickly draw a longitudinal section showing vertical glass walls hanging from the outer shells and suddenly twisting out to become almost horizontal glazed canopies. But views of the Sydney bay are magnificent at the point where the buildings will be located, and Utzon's design gives predominance to the two short ends of the main buildings: one edge overlooking the bay, the other receiving visitors from the city. Natural light is not a critical requirement for an opera house concerts and theatre plays happen mostly at night.
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His main ideas for the design are already defined: the unifying podium, the decision of splitting the opera hall and the theatre in two parallel buildings plus a smaller one housing a restaurant, a number of concrete shells flying above the three volumes.Ĭompetition section drawn by Utzon, 1956. He has of course not visited the site - it would be too strenous and expensive an effort. Jorn Utzon, a young architect (38 at the time) has spent all his spare time during the last six months working at the design of an Opera House for a competition in Sydney, Australia. It is November 1956 in Hellebaek, Denmark.
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The glass walls during the competition and first stages of design. Many questions arose when I started digging: are the glazed walls at least partly Utzonian? Who were their designers? Was it a smooth process - since the Danish architect was not there any longer - or was it another nightmare within the general conundrum of the job? And finally, is there anything we can learn from the Sydney Opera House glass walls, now that we celebrate 40 years after their conclusion? Glazing of the Concert Hall north end, 1972. Our focus are the glazed walls located at both ends and long sides of the three main buildings above the podium: the Concert Hall, the Opera Theatre and the Restaurant. In this post we will not deal with the concrete shells or the precast enamelled porcelain cladding of the shells. This is the second most important feature of the facade of the Sydney Opera House - after the concrete shells of course - and it is not an Utzon design at all: Utzon left the site in 1966 and the glass walls were designed and built bewteen 19. Then, there is some consolation in the fact that Jorn Utzon himself never saw the glass walls as they are now - he didn't even take part in their final design. Is it possible to 'decode' a complex element of the Sydney Opera House as the external glass walls without having ever visited the building? The obvious answer is no, but one doesn't lose much with trying.
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The Red Book, 1958.įirst, a confession: I've never been to Australia. Utzon's sketch of the Sydney Opera House.