Sydney Opera House conservation plan

–25–the world arrived to see if the Sydney Opera House was to be a whiteelephant or a sacred cow. Martin Bernheimer, the music critic of theLos Angeles Times, spoke for most when he wrote:This, without question, must be the most innovative, themost daring, the most dramatic and in many ways, themost beautiful home constructed for the lyric and relatedmuses in modern times (ibid).By his own choice, Utzon was not at the opening nor did his nameappear on the plaque in the entry concourse. Nevertheless from whereverthe building is seen, harbour, city or air, it is remembered asUtzon’s creation—a magical embellishment of one of the grand waterscapesof the world. Hall, Todd and Littlemore will be remembered forthe difficult job of turning an incomplete aesthetic masterpiece into aperforming arts centre with the full range of services required.21. Sketch plan of proposed carpark and its relationship to thelower forecourt, about 1990.Loosely based on an unidentifiedand undated plan suppliedby NSW Public Works.Completing the setting, 1986–1993Two jobs remained to be done: the construction of an appropriate landapproach and forecourt treatment, and the provision of convenientparking (fig.21). The first was completed as a part of the NSW government’sbicentennial refit of Macquarie Street and the public areasflanking Sydney Cove. It was designed under the general superintendenceof Andrew Andersons (the work near the Opera House involvedPeter Hall) and was completed for the royal visit on Australia Day 1988.