MERCY OGUNNUSI SUM 201 STUDENT 1.

D- 1406849

SYDNEY OPERA
HOUSE,
AUSTRALIA
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MERCY OGUNNUSI SUM 201 STUDENT 1.D- 1406849

SUM 201
DESIGN MANAGEMENT

FACULTY: Design & Technology

SCHOOL: The Scott Sutherland School of Architecture and
Built Environment
COURSE: MSc Construction Project Management FT and DL
Msc Property Development

STAGE Postgraduate

ACADEMIC YEAR: 2014/15

SEMESTER: 1 Sessional Coursework

DATE OF ISSUE: 30 September 2014

HAND IN: Sunday 14 December 2014

INSTRUCTIONS:

NB:
NB:

Print Name: MERCY OGUNNUSI Matric No: 1406849

Course: Design Management

(SUM 201)

Processed By: Date: Mark Allocated:

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Table of Contents

1.0 BACKGROUND.................................................................................................................................. 3
2.0 PROJECT DETERMINANTS ........................................................................................................... 6
3.0 PROJECT GENERATORS................................................................................................................ 6
3.1 Stage I: PODIUM ................................................................................... 7
3.2 Stage II: WHITE CONCRETE ROOF……………………………………………………………………8
4.0 PROJECT CONSTRAINTS ............................................................................................................ 10
3.3 Stage III:INTERIORS AND WINDOWS .................................................... 11
5.0 COLLABORATION AND QUALITY ............................................................................................. 12
6.0 CONCLUSION ................................................................................................................................. 14
7.0 REFERENCES .................................................................................................................................. 15
8.0 BIBLIOGRAPHIES ......................................................................................................................... 18

List of Pictures

Pix 1.Bennelong Point before Sydney Opera……………………………………………………4

Pix 2-Arch.Jorn Showing the model of Sydney Opera House…………………………5
Pix 3.Some of the original design Utzon used for competition……………………….5

Pix 4. Ariel view of Sydney Opera House………………………………………………………..7

Pix 5.The Podium……………………………………………………………………………………………..8

Pix 6. Utzon displaying his concept from a Sphere………………………………………..9

Pix 7. Roof shells under construction and completion………………………………….10

Pix 8.Interiors and windows…………………………………………………………………………..12

1.0 BACKGROUND
Sydney Opera House, Australia “identified as one of the world greatest iconic
buildings of the 20th century”, was designed by a Danish Architect Jorn Utzon during
an international competition in 1957 which he won (UNESCO,1992). The
construction of Sydney Opera House can be perceived as one of the most

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catastrophic project in history, not only from the budgetary aspects, but also for
the entire construction project management plan (Sumanth 2014). Government’s
decision to build Jorn’s design was habitually impacted by some unforeseen
circumstances that followed “including cost, scheduling overruns and architect’s
ultimate resignation”. The initial planned duration of the project was for four years
with a budget of Australian ($7million). However it took sixteen years to complete
the project at the overall cost of Australian ($102 million). (Kathryn, 2013).

The multi venue performing arts center was conceived in 1940 by the Director of
the North South Wales State (NSW) Conservatorium of Music, Eugene Goossens
after considering the Sydney Town Hall too small for a large theatrical production.
Therefore, with the aspiration to have a fitting location for such an event, Eugene
Goossens lobbied and succeeded in gaining the support of NSW Premier Joseph
Cahill to have a dedicated opera house. Goossens also insisted on situating the
opera house at Bennelong Point against the desire of Cahill who wanted the site to
be on or “near Wynyard Railway Station in the northwest of the CBD” (Sydney
Architecture 2014).The Royal Australian Institute of Architects also affirmed the
suitability of the site …..”It would also provide a wonderful improvement to the
Sydney foreshore”…..(RAIA 1954).

Pix 1.Bennelong Point before Sydney Opera

The Labour premier of NSW Cahill appointed an Opera House Committee and a
design competition was subsequently launched. In 1955,the committee received
233 entries representing architects from 32 different countries.The specification
includes a large 3000 capacity hall with a smaller one for “1200 people” for
different purposes (two halls each designed for a specific sets of uses, no limit on
the estimated cost of the project)(UNESCO, 1992).

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Usually, at the commencement of any project, a Project Manager who was absence
in the case of this project would have been able to identify the needs, goals and
objectives of the client and establish it in form of a “client brief” revolving round the
three major constraints; cost, time and quality to provide a guideline for what the
project must achieve (J.W.E Masterman,1992). Aesthetic quality was considered
the most important in the case of Sydney Opera House, as it was an almost
unhindered goal of the project and the reason why it was launched by the major
Stakeholder – The North South Wales Government (Vincent et.al 2009). There was
no indication that time and cost constraint was of any significance during the
competition which allows total liberty for the architects in their designs.

John Utzon emerged the winner in January 29th 1957 winning a 5000pounds cash
prize (Telegraph, 2014).The jury states:

Pix 2-Arch.Jorn Showing the model of Sydney Opera House.

Pix 3.Some of the original designs Utzon used for competition

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2.0 PROJECT DETERMINANTS

The key determinant for Joseph Cahill in accepting to construct Sydney Opera
House on the Site choosen by Goosen was to change global opinions of Sydney
from being a ex-penal colony in a far-off corner of the British Empire to Sydney as
a “World city” with its own social development. Denis Winston,a Town planning
Proffessor wrote at the time:

The building of the new Opera on One of the grandest urban sites in the world-the
headland where Governor Macquarie’s old Fort used to be will be a visible symbol of
age of the capital of the Mother State (Winston cited by Sydney Architecture 2014).

3.0 PROJECT GENERATORS

Based on the cultural heritage of the site to Australia, the need to erect a bespoke
Sydney Opera House and also the prestige that will be gained by Sydney, Cahill was
already convinced about the whole plan of Sydney Opera House.

Meanwhile, architect Utzon reached an exclusive understanding of the Bennelong

Point -Its topography and the relationship to the harbour and surrounding land
marks-by studying naval charts, photographs, site plan and watching a short film
on Sydney without actually visiting the site in person (Telegraph,2014). He made
his first visit to Sydney in July 1957 and later presented his “Red Book” in March
1958 which consists of the Sydney National Opera House report. This book
comprises some documents such as, plans, sections, reports by consultants, e.t.c.

The Key generator for him was to “create a sculptural form that would relate as
naturally to the harbour as the Sails of its yachts” (Peter,2003). A naval architect
and engineer’s son, “Utzon believed that the principles of boat building and naval
architecture would help solve the engineering and architectural processes required
when construction started” (SOH 2013).

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Pix 4. Ariel view of Sydney Opera House

Unfortunately, complications ensued from the start of the project that was divided
into three stages; stage 1(1959-1963)building the upper podium; stage II (1963-
1967) construction of the roof shells and stage III (1967-1973) interior designs and
windows.”

3.1. Stage I: PODIUM

The substantial construction bill for the Opera House had been finally paid off
principally through public lottery system generating over $100million between 1958
and 1975 from Utzons original model that was on display at the center piece of the
Town Hall (Kathryn 2013). Therefore, funding the construction was not a financial
burden for the government.However,in 1958,a wish list emerged from the client as
the government fearing that financing or civic view might not be in their favour
(most especially because of election that was to hold in 1959) pressed for the
construction to start early under the leadership of Utzon. Protest from the architect
who claimed the final designs are yet to be completed due to some major structural
issues would not change their mind. This forceful attempt led to structural issues
one of which “was the fact that the podium columns were not strong enough to
support the roof structure and had to be re-built”.

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Pix 5.The Podium

Moreso, the client changed the requirement of the design after the construction had
started, moving from two theaters to four theatres, in other words, plans and
designs had to be modified during construction. This reveals the inexperience of the
client according to J.W.E.Masterman (1992), “a desire to make changes to the
project……..and a lack of understanding of,or unwillingnes to accept,the
consequences of such action.

By the first quarter of 1961, it was already 47 weeks over schedule for the whole
project owing to changes of baseline documents, commencement of work before
the appropriate construction drawings had been produced, “unexpected difficulty
diverting storm water “and inclement weather”(Peter 2003).

Regarding the project’s budget at this stage, the initial estimation was drawn on an
incomplete design drawings and site surveys which later led to disagreements. The
contractors (Hornbrook) for the stage one successfully claimed additional costs of
AUS $1.2 million in 1962 due to design changes. By the time it was completed in
the second quarter of 1963, it had cost an estimated AUS $5.2 million (Peter 2003).

3.2 Stage II: THE ROOF

The Rigid line sketches prepared by Utzon for the 1957 competition revealed a
comparatively short free –form roof of concrete shells. They did not prove to be
structurally practical, but just concept diagrams. It took Utzon four years, in
conjunction with Ove Arup to develop a ribbed shell system based on the geometry
of a sphere (UNESCO 1992). This system allowed each rib to be made up of typical
segments cast at the site. The sections were then elevated into place between the
previous rib and an auxiliary telescopic steel arch devised by the contractor, M, R,
Hornbrook.Hornbrook manufactured the 2400 precast ribs and 4000 roof panels in

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an on-site factory and also developed the construction processes.(Anne, 2006).The

complete rib was stressed and the process was repeated for about twelve times.
The development of this roof shell design was a challenging and an extensive
process. As with so much of the Sydney Opera House, it extended skills and pushed
technology to the limits (Kerr in Sydney Architecture).

Pix 6. Utzon displaying his concept from a Sphere

The roof shells construction was one of the complex constructions that launched the
use of Computer aided design. The computers were used to analyse the structure of
shells, assemble the arches and also aided the storage of data obtained from
surveying the “pins in the arch” at the end of each day so as to place the next arch
properly the subsequent day”(Peter, 2003).

(J.Rey Rey, 2013) in his structural analysis claimed regardless of the innovative
use of computers during the structural design stage, both the hardware and
software were not matured. In addition to this, the lack of available design tools in
line with the recognized complication of the plan enormously conditioned the
project advancement, escalating vividly over time and increasing its closing budget
excessively. In other words, when the design work for the competition commenced
in 1956, personal computers were not in existence, nor the software packages for
graphics representation and structural analysis, the geometry of the roof could not
be uniquely established and defined on Utzon’s competition drawings. Therefore,
representing such geometry proved difficult “as it does not really exist except in
Utzon’s mind” . In order to facilitate their definition and analysis, the anticipated
free form surfaces have been forced to adjust to a well understood geometry as

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well as the shells have been substituted for fan-shaped concrete ribs which
intensely alters Utzon’s initial vision.

Pix 7. Roof shells under construction and completion

4.0 PROJECT CONSTRAINTS

Although, Sydney Opera house is being adored till today, yet attitude during the
construction were very different. Stage two became the most contentious stage of
the entire project, the escalating cost, its delays and its architect was continually
under attack by the local press; “the now familiar white shell roofs was given so
many nicknames including “the hunchback of Bennelong Points” by the
headline writers (Peter Murray,2003) A new Liberal government stepped in and
monitored all payments being requested by the Opera House. After Utzon
submitted an updated estimate of the projects total cost of AUS $12.5 million at the
end of stage one, more payments were being provided and the government
perceived no visible progress was realised due to a Utzon’s process of “trial and
error” by working up solutions in consultation with technical experts and artisans in
approaching the design problems.

The government began withholding payments to Utzon as they felt ‘Utzon’s

approach was not one the new government considered appropriate to jobs of the
scale and complexity of the Sydney Opera House. This mounted pressure on the
design teams and in 1966, Utzon wrote to the Minister of Public works, Davis
Hughes in the New South Wales Government that “You have forced me to leave the

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job”. Hughes accepted the letter as the architect’s resignation. (Peter Murray
2013). Later, Utzon notably described the situation as “Malice in Blunder land”
because he felt he was forced to resign from the project as his creativity was
constrained, and he could not bring his perfect idea to culmination (Sydney
Architecture, 2014).

Peter (2003) stated that Pritzker Architecture Prize “A Nobel” given to Jorn placed
him in the “pantheon of the greatest contemporary architects, but marked a failed
careers that did not reach its complete potential as a result of the distresses of
building the Opera House. It is Utzon’s masterpiece, yet he did not complete the
building due to his resignation.

Sydney Opera House was then taken over by three Australian architect and stage
two was completed in 1967 with a total cost of AUS $13.2 million. When Utzon
resigned, he left with all his designs and sketches, leaving nothing behind for
anybody to work with, with the conviction that he would be called back by the
Australian government when the project failed. However, due to unavailability of
designs to work with, the new ones were generated based on the current structure
of the Opera House and many unforeseen complications were encountered.
Obviously, this caused an enormous upsurge in the estimate of the cost of the
project(Peter 2003).

3.3 Stage III: THE INTERIORS AND WINDOWS

This stage commenced with the interiors. Peter Hall took over Utzon’s position and
was principally responsible for the interior design in addition to Peter, a government
architect, E.H.Farmer, D.S.Littlemore and Lionel Todd were all appointed to replace
Utzon.(Peter,2003).

Utzon resignation raised lots of issues amongst which are the adequacy of the
acoustic design for a 2000 seats in the main hall and not for a 3000 seat as stated
in the brief. The project cost at the end of this stage was $22.9 million, which is
less than a quarter of the final cost.(Sydney Opera House).

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Pix 8.Interiors and windows

5.0 COLLABORATION AND QUALITY

The insistence of John Cahill for the construction to commence before the
completion of the shells design generated a collaborative effort between the
architect and the engineer Jorn Utzon and Ove Arup (Utzon, 2002).

Motivative and collaborative decisions of Utzon and the Ove to use vaulted concrete
based on the sphere geometry and cast on site, achieved a vibrantly practical
solution to the roof construction problem. Max Freeland, Australian architectural
historian claimed that:

“This Sydney Opera was a voyage of architectural and engineering discovery in

which new oceans were charted, new frontiers of knowledge and technology were
conquered……” (Freeland cited in Sydney Architecture)

“The creation of huge over sailing roofs was a magnificent feat of engineering and
collaboration” (Peter 2003).

Peter Hall was able to work collaboratively with his team, despite the non-
availability of Utzons designs, and they were able to develop designs that
completed Sydney Opera House in 1973.

The transformation of Sydney from being a ex-penal colony in a far-off corner of

the British Empire to Sydney as a “World city” with its own social development

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through the erection Sydney Opera House was a collaborative effort between the
Government and the project team:

Since the official opening on 20 October 1973 by Queen Elizabeth II, the Sydney
Opera House has played a seminal role in Australia’s performing arts
history,…..attracting nationally and internationally recognised performers from
around the world….. The achievement of its design….marks a significant transitional
period in Australian political, economic development and …..cultural life in the
decades following World War II.

There was really no assigned Project Manager during the project, but rather, Utzon
who was the head of the team collaborated with Ove Arup who was in charge of the
structure and engineering. With some other subcontractors, the Project team was in
charge of mechanics, electrics lighting, heating and ventilating.

Among the changes to Utzon design after his departure are:

1) Podium Cladding and the Paving: The podium was originally planned to be open
and not clad down to the water: The paving design was also different from what the
architect would have chosen.

2) Glass walls construction: The plan was to use system of prefabricated plywood
mullions as against an inventive system was produced to deal with the glass. It is a
total difference from Utzon’s design.

3) Use of Halls: The major Hall which is now solely for concert was initially design
for both multipurpose Opera/concert Hall.

4) Interior design: Jorn’s “plywood corridor designs, and his acoustics and seating
design for the interior of both halls were altered completely. Utzon thought of
acoustics from the commencement of design. These designs were consequently
modelled and discovered to be faultless acoustically. In other words, the current
interior organization is sub-optimal (Sydney Architecture, 2014).

In view of this, in 1999, the Sydney Opera House Trust decided to change Peter
Hall’s internal design of the Sydney Opera house to what Jorn initially designed. The
works includes the reception hall and opera theatre which was supervised by Utzon.
He undertook the supervision of the project works from Majorca as he was too old
to travel by plane. Allowances were made for the modern day technology and
requirements. The renovation work was completed in 2004 (Matthew,2007).

Sydney Opera House Trust finally negotiated for Utzon’s return as an advisor in
1998. In 1999, he agreed to supply a statement of his “design principles” for the
building. “These were delivered in 2002 and have been published as “Sydney Opera
House Utzon Design Principles” (2002).

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“…..‘it is right that we should be looking forward to the future of the Sydney Opera
House and not back to the past……Future architects should have the freedom to use
up-to-date technology to find solutions to the problems of today and tomorrow’
(Kerr cited in Australian Heritage Database,2005).

6.0 CONCLUSION
This report has analysed the effect of project and design management in Sydney
Opera House. The project was not effectively and efficiently managed due to
inexperience of the client in identifying and aligning with the three basic parameters
of project constraints vis-a vis time, cost and quality. The architect on the other
hand being a stakeholder was engrossed in a “form” which deprived him the
opportunity of witnessing the overall outcome of the “form”.Withholding the entire
drawings after resignation is an act of unprofessionalism by the architect because
having received 5000pounds cash for winning the competition and also being paid
stage I and part of stage II, at least, a set of the complete drawings automatically
belongs to the Client. Lastly, its glaring that project like Sydney Opera House
justifies the imperativeness of a Construction Project Manager on any project
especially of this magnitude.

The Sydney Opera House is a symbol of imagination that forced itself into reality. It
was however hindered in the course of its creation through the lack of technology
that is amply available in our present world. The advent and prominence of BIM
(Building Information Modeling), Primavera and all other valuable project
management software in existence can never be underestimated as what took
sixteen years to build then would have taken approximately sixteen months to build
now.

Word count-2993

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7.0 REFERENCES
ANNE WATSON, 2006. Building a masterpiece : The sydney opera hosue. [online]
Australia: Power House Museum. Available from: http://www.dhub.org/building-a-
masterpiece-the-sydney-opera-house/ [Accessed 9th December 2014]

AUSTRALIAN GOVERNMENT, 2013. Sydney opera house. [online] Australia: Kathryn

Wells. Available from: http://australia.gov.au/about-australia/australian-
story/sydney-opera-house [Accessed 20th October 2014]

AUSTRALIAN HERITAGE DATABASE, 2014. Sydney opera house. [online] Australia:

Commowealth of Australian. Available from: http://www.environment.gov.au/cgi-
bin/ahdb/search.pl?mode=place_detail;place_id=105738 [Accessed 8th December
2014]

CRISTINA GARCIA-OCHOA MARTIN, 2012. The sydney opera house construction:A

case of project management failure. [online] Australia: Cristina Garcia-Ochoa
Martin. Available from: http://www.eoi.es/blogs/cristinagarcia-
ochoa/2012/01/14/the-sidney-opera-house-construction-a-case-of-project-
management-failure/ [Accessed 8th December 2014]

J.REY REY, 2013. The disappearance of the structural analysis barrier: The sydney
opera house from a contemporary perspective. [online] United Kingdom: Taylor and
Francis Group. Available from:
http://www.academia.edu/7217759/The_disappearance_of_the_structural_analysis
_barrier_the_Sydney_Opera_House_from_a_contemporary_perspective [Accessed
8th December 2014]

J.W.E MASTERMAN, 1992. Building Procurement Systems. 1st ed. United Kingdom:
E & FN Spoon.

JORN UTZON, 2002. Sydney opera house:Utzon design principles. [online]

Australia: Jorn Utzon. Available from:
http://d16outft0soac8.cloudfront.net/uploadedFiles/About_Us/Corporate_Informatio
n/Content_AboutUs_UtzonDesignPrinciples.pdf [Accessed 20th October 2014]

KATHRYN WELLS, 2013. Sydney opera house. [online] Australia: Australian

Government. Available from: http://australia.gov.au/about-australia/australian-
story/sydney-opera-house [Accessed 8th November 2014]

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MATTEW BENNS, 2007. Utzon wants to tear up floor of the opera house. [online]
Australia: The Sydney Morning Herald. Available from:
http://www.smh.com.au/news/entertainment/arts/utzon-wants-to-tear-up-floor-of-
the-opera-house/2007/04/07/1175366528643.html [Accessed 8th December 2014]

PETER MURRAY, 2003. The saga of sydney opera house. [online] United Kingdom:
Peter Murray. Available from:
http://books.google.co.uk/books?hl=en&lr=&id=sh0nNzcLm1oC&oi=fnd&pg=PP1&d
q=The+Saga+of+Sydney+Opera+House&ots=Xw2dYH9uzW&sig=WxQ_36nEzFx9G
sm0zYRMKk58npA#v=onepage&q=The%20Saga%20of%20Sydney%20Opera%20H
ouse&f=false [Accessed 8th November 2014]

RAIA, 1954. Sydney Opera House. (Sydney Opera House). Australia: RAIA.

SUMANTH VELAMATI, 2014. Building a new sydney opera house. [online] United
State Of America: Academia.edu. Available from:
https://www.academia.edu/8093814/Building_a_New_Sydney_Opera_House
[Accessed 14th December 2014]

SYDNEY ARCHITECTURE, 2014. Sydney opera house. [online] Australia: Sydney

Architecture. Available from: http://www.sydneyarchitecture.com/ROC/QUA01.htm
[Accessed 19th October 2014]

SYDNEY MORNING HERALD, 2006. The phantoms that threaten the opera house.
[online] Australia: The Sydney Morning Herald. Available from:
http://www.smh.com.au/news/national/the-phantoms-that-threaten-the-opera-
house/2006/11/10/1162661901377.html [Accessed 8th December 2014]

SYDNEY OPERA HOUSE, 2014. Sydney opera house history 1954-1958. [online]
Australia: Sydney Opera House. Available from:
http://www.sydneyoperahouse.com/about/house_history/1954_1958.aspx
[Accessed 8th December 2014]

TELEGRAPH TRAVEL, 2014. Sydney opera house :40 fascinating facts. [online]
Available from:
http://www.telegraph.co.uk/travel/destinations/australiaandpacific/australia/sydney
/10317099/Sydney-Opera-House-40-fascinating-facts.html [Accessed 20th October
2014]

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UNESCO, 2014. Sydney opera house. [online] Australia: UNESCO. Available from:
http://whc.unesco.org/en/list/166 [Accessed 20th October 2014]

VICENT ANTER,ELIN HANSSON,OLLIE MCNAUGHT-REYNOLDS,ANNABELLE

TESSARD, 2009. Sydney opera house-stakeholder management and project
success. [online] United State of America: Academia,edu. Available from:
http://www.iei.liu.se/fek/svp/723g18/case_material/1.111101/SydneyOperaHouseP
rojectStudy.pdf/ [Accessed 14th December 2014]

Pictures sources from:

https://www.youtube.com/watch?v=oOCFj5CkOdk

http://www.gettyimages.co.uk/detail/photo/australia-sydney-opera-house-harbor-
bridge-high-res-stock-photography/AB28439

http://www.gettyimages.co.uk/detail/photo/australia-sydney-opera-house-harbor-
bridge-high-res-stock-photography/AB28439

http://www.abc.net.au/news/2013-10-20/40-years-of-the-sydney-opera-
house/5025816

http://sydneyforeveryone.com.au/city/sydney/lost-islands/bennelong-point/

http://photocerfvolant.free.fr/phpBB2/viewtopic.php?f=19&t=1235

https://www.pinterest.com/vv2493/architecture/

http://www.environment.nsw.gov.au/maritimeheritageapp/resources/Heritage/shi/
505/5054880b14.jpg

http://njreesencsu.tumblr.com/

http://www.architectureanddesign.com.au/news/sydney-opera-house-turns-40

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8.0 BIBLIOGRAPHIES
PETER JONES, 2006. Ove arup-master builder of the twentieth century. [online]
China: Peter Jones. Available from:
https://books.google.co.uk/books?id=6ACoL299r2EC&pg=PA346&lpg=PA346&dq=R
IBA+comments+on+Sydney+Opera+House&source=bl&ots=asYCZeFT58&sig=2LN
TmXsJcGz0RYJPhkf_kLDYs0I&hl=en&sa=X&ei=GtqGVJjTNcPvUOLSg-
AP&ved=0CC0Q6AEwAg#v=onepage&q=RIBA%20comments%20on%20Sydney%2
0Opera%20House&f=false [Accessed 9th December 2014]

NATIONAL PHYSICAL LABORATORY, 2014. Building the sydney opera house.

[online] United Kingdom: National Physical Laboratory. Available from:
http://www.npl.co.uk/content/conWebDoc/8580 [Accessed 8th December 2014]

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