The construction of the Sydney Opera House was a famously fraught saga, but as the city’s landmark turns 50, former workers remember a quite different atmosphere on the site itself. — The Guardian

After two years of renovations, a room once blighted by poor acoustics and outdated machinery can now accommodate musicians previously turned away, with a push of a button — The Guardian

[...] vast renovation project aimed at bringing all those innards up-to-date. The endeavor, budgeted at close to 300 million Australian dollars (nearly $200 million U.S.), culminated with the closure of the complex’s concert hall for the first time in its history. The hall has in the past been open 363 days a year, a point of pride, but it was shuttered in February for the start of a two-year upgrade. — The New York Times

After a horse race ad was projected onto the structure’s iconic roof earlier this week, protestors took to the streets in objection to the commodification of their beloved building. — CityLab

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