He quickly began the task of resolving his design, transforming the roughly-sketched concepts presented in his competition entry, into detailed drawings that articulated how the opera house would be realised. The Danish-born Utzon was appointed in January 1957 having won an international competition, from a field of over 230 entries, to design a national opera house for Sydney. The task of finishing this structure was allocated to the architectural cooperative of Hall, Todd & Littlemore who replaced Utzon in 1966. This article examines the illumination from an historical view as Jørn Utzon’s (1918-2008) concepts for the building, including the lighting design intentions, were not all realised as he did not complete the project. This article examines the illumination of the Sydney Opera House from the perspective of light as a construction material, another element that is used to ‘build’ the structure on Bennelong Point. The role of the illumination, in the perception and understanding of Australia’s most famous performing arts centre, is an under-investigated aspect of its construction and its use today (Dwyer Backstage Biography 1 Dwyer “Utzon’s Use” 131 ). Typical investigations into the Sydney Opera House focus on its architects, the materials, construction, or the events that occur on its stages. The construction of the Sydney Opera House, between 19, utilised many ground-breaking methods and materials which, together, pushed the boundaries of technical possibilities to the limits of human knowledge at the time (Commonwealth of Australia 36, 45). It is universally recognised as an architectural icon and as a masterpiece of the built environment, which has captured the imagination of many (Commonwealth of Australia 4). The Sydney Opera House is Australia’s, if not the world’s, most recognisable building.
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