1.0 THE VISION
1.1 THE SYDNEY OPERA HOUSE
2.0 THE FUTURE
3.0 DESIGN PRINCIPLES
3.2 FUNDAMENTAL PRINCIPLES
3.3 SYDNEY OPERA HOUSE DESIGN PRINCIPLES
“Since being completed twenty-five years ago,
The challenge now facing the Trust is to
The document is structured into three parts. Part
the Sydney Opera House has become an
safeguard the integrity of Jørn Utzon’s vision,
one contains a recent text written by Jørn Utzon,
international icon, instantly recognisable to
whilst assessing the functions of the building to
describing his vision for the building. Part two
people all around the world.
ensure that it can continue to perform as the
outlines Utzon's approach to the future of the
It is one of the world’s great buildings of the
world-class performing arts centre that Utzon
building, and Part three lists the fundamental
twentieth century and a living testament to the
intended it to be.”
principles underlying the designs.
creative mind of its architect, Jørn Utzon.
Extract from Media Release 1 September 1998
The Sydney Opera House Trust has decided to
by the Chairman of the Sydney Opera House
embark on a long-term program aimed at
Trust Mr. Joseph Skrzynski.
achieving two significant objectives.
This document prepared by Jørn Utzon outlines
The first is to safeguard the Sydney Opera
his vision for the building and its setting and his
House and its site for the benefit of future
comments on the future. It is the first critical
step in the process of establishing a long-term
plan for the Sydney Opera House.
The second is to address the current
effectiveness of the building’s function as a
It is intended as a permanent reference for the
contemporary performing arts centre.
conservation of the building and its setting. It can
be used to clarify original design intent, to
In establishing these two objectives, we are
manage proposals for change and influence
mindful that they must be achieved within the
planning controls for the precinct.
design principles established by Utzon.
01 THE VISION
1.1 THE SYDNEY OPERA HOUSE
UTZON DOCUMENT, DATED 4 JUNE 2000
The programme for the new Opera House in
Sydney was so unique that I felt I simply had to
participate. This programme had all an architect
could wish for. It had a fantastic site, with a
beautiful and demanding position on Bennelong
This caused me to start on the project
immediately as I happened to live near the castle
of Kronborg, situated in a similar position with
similar surroundings between the two coasts of
Denmark and Sweden, with the town of
Helsingør on one side and that of Hälsingborg of
With Kronborg in mind I was convinced that a
new building in such a position as to be seen
from all sides, had to be a large sculptural