One million brilliant white tiles clad the 65m-tall precast concrete roof [...] glazed ceramic tiles need to be hand-checked, or tapped, every five years by specialist engineers, who abseil down the roof “sails” looking for changes in their sound or appearance. Now, thanks to the combined efforts of the opera house, the Getty Foundation, the University of Sydney and the engineering and design group Arup, this expensive, vertigo- inducing process is a step closer to becoming a thing of the past. — theartnewspaper.com
With the working title Utzon, The Man Behind the Opera House, the film will tell the story of Danish architect Jørn Utzon, who was just 38 years old and relatively unknown when he won the international competition to design an opera house on Sydney’s Bennelong Point in 1957...
The Sydney Opera House was completed by Australian architect Peter Hall – a handover which ostracised Hall from the architectural community, and which his family believe led to his ruin. — The Guardian
[Utzon] wrote to his idol, boldly sending his designs of the Opera House and asking Le Corbusier to contribute in the form of “decoration, carpets and paintings”. His idol wrote back, and by October 1960 the young Utzon was the proud owner of a striking tapestry [...]
The piece is now hanging behind glass in the far end of the Utzon-designed western foyer: a holding place while the Opera House continues the “decade of renewal” that will lead up to its 50th anniversary in 2023. — theguardian.com
If Jørn Utzon did not exist, we would have to invent him. His story, mostly the legend of that single and singular building, the Sydney Opera House, provides the enduring foundational myth for all contemporary architectural practice. Utzon is our sage Kenobi, our renegade Solo, our heroic Skywalker, all in one. He looked the part, too: an architect out of central casting in the Gary-Cooper-as-Howard-Roark mould, as tall as Rem Koolhaas, as beautiful as Jacques Herzog, as Danish as Bjarke Ingels. — architectmagazine.com
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