He was dismissed from the project and not invited to its 1973 dedication. Jorn Utzon won Sydney’s competition in 1956 but soon had a rancorous falling out with city fathers. Surveying the tableau from behind the orchestra I was enveloped within a beautiful space.Īmazingly, 32 years separate the prize-winning designs of the two structures. The space feels curiously democratic with first-time visitors being unsure of where the best seats are. There are defined sections with varying characteristics. The principal performance venue has four and in places five levels of seating. Concert goers venture outside to a plaza on the western side greeted by lush greenery, palm trees, winding paths, and benches that invite pause and reflection. The irregular space with nooks, crannies, cushioned benches and alcove seats is inviting, even captivating. The hidden beauty of the Disney is inside where curves, ramps, and textured walls flow gracefully above blond flooring. Crouched near the city center Gehry’s building consists of stainless steel slabs that rise in multiple directions, challenging the eye to make sense of what at first glance is a jumble, a pile without coherence. Seven thousand miles east in Los Angeles, Frank Gehry’s Walt Disney Concert Hall echoes Jorn Utzon’s masterpiece in Sydney. The iconic opera house is no longer just an Australian treasure, it is hailed by architects worldwide as one of the greatest buildings of the 20 th century. From air, sea or land they direct the eye to the sliver of land near the harbor bridge with the vibrant city behind. On a cloudless day they form a glorious contrast to the sky and the deeper blue of the water. Of course, it is the white sails of the roof that make the Sydney Opera House great.
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