Sydney Opera House conservation plan

–47–SETTINGViews and vistasTwo aspects of the Sydney Opera House make it an exceptional landscape(and seascape) monument: its form and its relationship to itssetting. It follows that views and vistas to and from the Opera Houseidentified in the schedule on page 34 are a major element in themarine landscape of Sydney. It is important that they are taken intoaccount in the design of any development with an actual or potentialvisual relationship with the building.Policy 2.1 All agencies of government and local government involvedin planning the continued development of Bennelong Point and nearbypeninsulas and bays should give consideration to the creation, retentionand recovery of views and vistas to and from the Opera House whenconsidering proposals. These objectives should be progressively incorporatedinto any relevant development strategies.Policy 2.2 The Sydney Opera House Trust should ensure that no erectionin the area under its control interferes with any view or vista to orfrom the Opera House.Policy 2.2 above does not prevent a range of lively performances, pageantsand functions held for a specific occasion. It would, however, precludethe erection of temporary structures or tents so large that they obscuredfavourite views to or from the Opera House to the disappointment anddisgruntlement of tourists and patrons. Tourists are an important part ofthe commercial lifeblood and word-of-mouth publicity of the SydneyOpera House—and Sydney. They should leave the site bearing anunspoilt memory and photographic record of their pilgrimage (fig.32c).30. Tented erections covering the forecourtin 2001. The boundary fence bore thewarning AUTHORISED PERSONNEL ONLY. Elevengarbage bins lined the roadway to theOpera House. JSK photograph 2001.1.3.Open and uncluttered settingThe surrounds of the Sydney Opera House reflect the inherent conflictbetween heritage requirements and new ideas for improving visitorsservices and experiences. On the one hand there is a need to maintainthe building as a free-standing iconic monument of exceptional significancein an uncluttered and publicly accessible setting and, on theother, there is a management desire to enliven the surrounds and toaccommodate leasable concessions or hireable venues. The AndrewAndersons and Peter Hall lower forecourt design of 1987 was a neatresolution of the problem but in 2002 there are unacceptable intrusionsinto the forecourt and broadwalk. The ‘icecream, coffee and food anddrink’ bars (fig.31) and the large metal framed and air conditionedvenue for hire north of the podium (fig.32) are examples.30a Clear forecourt. JSK photograph2002.5.14A.31. First of the new ice cream, coffee andfood bars against the podium wall withgarbage bins and sheltering canopies.Two more have been placed in the forecourt.JSK photograph 7.9.2002.