Sydney Opera House conservation plan

–45–appropriate, industrially fabricated modular systems with sufficient flexibilityto facilitate the often extremely complex construction programs.In all this Utzon was helped by a variety of firms and people but until1966 it was his vision that directed the project.In addition to Policy 1.1 above, more specific policies are necessary.They establish appropriate responses to proposed and possible developmentsas well as to the care and functional adaptation of the workof Utzon and Hall. The policies fit generally within the framework ofUtzon’s approach.Policy 1.2 The following fabric and attributes are essential toUtzon’s concept for the Sydney Opera House and should be retained inany future development:a. the relationship between the three shell groups and the platform below;b. the shell geometry and the ceramic tile cladding;c. the canted alignments of the major shell groups;d. the supporting structural systems throughout the building;e. the visually free standing sculptural form of the building unobstructed byadjacent erections;f. the open and uncluttered character of the forecourt and grand stair bywhich the raised podium is gained;g. the visual relationship with the harbour setting from the podium – includingthe foyers surrounding the auditoria;h. the retention of a ‘natural’ palette of materials for external fabric.The foyers surrounding the auditoria are a combination of Utzon andHall design. Utzon regarded them as ‘outside’ spaces with clear visionin through the glass walls as well as out. Hence the foyer fabric was tobe designed with the same natural palette of materials, textures andcolours as the outside. It was also intended that the profile of the auditoriacarcases would enable the underside of the soaring ribs of theshells to be seen in almost all their glory. Largely because of seatingdemands, Hall designed auditoria carcases that heavily oversailed thefoyers and substantially obscured the ribs. The foyers are still extraordinaryspaces but adjustment of the envelope and materials of the majorauditoria carcases is an acceptable option should the auditoria beremodelled for functional and acoustic reasons.Retention of Utzon’s conceptsTreatment of hybrid ‘outside’ spacesPolicy 1.3 Hybrid spaces, such as the foyers surrounding themajor auditoria and the reception hall, reflecting the work of bothUtzon and Hall, may be retained, or reworked in accordance withUtzon’s concepts and principles, provided the qualifications set out inPolicy 56.1 are accepted.Except for ‘The Studio’, part of the western foyer at Broadwalk level,the orchestra assembly area and some excavated office and storagefacilities, the existing spaces within the podium were designed by Hall.He later reported that the character of his design approach was particularlyshaped by two factors. First, the government’s determination tobring costs under control. This led to a ‘disciplined approach’ andmeant that ‘quality where it counted most, or was essential to performance,was affordable, but care had to be taken to economise wherepossible’. The consequence was the establishment of a hierarchy oftreatments for the various parts of the building (Hall, 1990, 22). Thehierarchy is set out on pages 69 to 72.Hall’s interiorsSecond, he strove for a ‘commonality of character’ that enabled ‘all thespaces within the Opera House to be recognisably part of the samebuilding’. ‘With the decision to use white birch veneered plywood forthe Concert Hall ceiling and chair shells it seemed logical,’ he said, ‘forboth practical and aesthetic reasons, to extend its use’ to those areas