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FLY Kayak Sail

Locality: Drummoyne, New South Wales, Australia

Phone: +61 407 466 445

Address: Unit 5 / # Drummoyne Avenue 2047 Drummoyne, NSW, Australia

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25.01.2022 UTZONS 2005 PLAN FOR A NEW OPERA THEATRE MADE PUBLIC Sydney Opera House : new opera theatre / [Jørn Utzon], designed by Analiese Cairis. Utzon, Jørn, 1918-2008,... author. Analiese, designer Cairis designer. Available at State Library of NSW Mitchell Library - Onsite Storage (HX 2015/5 ) Inside front cover: "This is a limited edition of 50 signed copies, of which this is number ...". [Digitally Signed Jørn Utzon].

24.01.2022 Oriented in harbour setting People approaching, walking up the stairs and entering the auditoria are all the time oriented in the beautiful harbour. (1) Walk ...in open up to entering auditoria The ideal way of approach and exit would be by ferry. (3) For patrons arriving on foot, it is possible to walk in the open right up to the moment they will enter the foyers of the Auditoria. (3) It is very important that the audience does not enter and walk through the building along dark corridors to a dark hall. (2) We now pass beyond the back stage wall around the stage proper and up flights of stairs to the Major Hall and to filter back into the hall itself. (3) Quotation references (1) Jørn Utzon, ‘Sydney Opera House, The Setting’ 5 May 2000 (2) Jørn Utzon, ‘Sydney Opera House’ 4 June 2000 (3) Jørn Utzon, ‘Descriptive Narrative, Sydney Opera House’ January 1965

24.01.2022 Definitely one of the coolest things to do on your next holiday in bali.exploring waterfall with appel_balitour by cliff jumping and sliding . . there is still ...a lot that you don't know about Bali . . It's an amazing all the things that make us tired disappeared an enjoy the natural water makes it fresher #appel_balitour #amazingtrip #explorewaterfall #balifun #tegenungan #alingaling #nungnungwaterfall #katolampo #twinswaterfall #travelguide See more

23.01.2022 UTZON COLLABORATED WITH PETER HALL AFTER 1966 The model photographed below was the result of a collaboration, after Utzon left Australia. In 1967 they investiga...ted lowering the auditorium to get more acoustic volume and enough seats. This initial design, approved of by Jorn Utzon, is much more sensitive to the "performance landscape' being above ground and completely within the shells. Because the stage and orchestra pit is not recessed into the Podium there is no need to cut the bowstring cables that hold the shells together. The stage still lacks wings but any alternative recessed scheme only provided a shallow run off area 2.5 meters high a wing for sets. The acoustics were reported to be excellent when to 1:10 scale acoustic model was tested in 1967. In a meeting 3pm on Friday 11th March 2005 I went through the issues together with Jan Utzon. We went over drawings showing the principles of the SOH ambulatory geometries that can also be seen in the theatre of Dionoysos, Athens, and the SOH competition entry. We discussed subsequent designs that Peter Hall and Utzon collaborated on after leaving Sydney in 1966. Jan took an A0 sized copy and my basic set out drawing to show his father. Peter Halls son, Will, was given a transcript of Jorn Utzons indearing reactions to the interiors when he saw them for the first time. At Jan's next visit I organised the reconciliation lunch between Will Hall and Jan Utzon. Afterwards Matt Carol came along to meet his best friend Jan Utzon. I gave Jan copies of Peter Hall's archive with a diary and letters documenting the collaboration and he took them back to his father. I can not recall if this included the photos of a 1:10 scale acoustic model of the Concert Hall, about 1967, shown on page 100 of "Building a Masterpiece: the Sydney Opera House". Either Matt Carol or Jan Utzon, Jeppe Utzon or Lin Utzon could confirm this.

23.01.2022 MY MEETING WITH JAN UTZON MARCH 2005 "Drawing shown to Jan Utzon Friday 11th March 3pm-4pm demonstrating the principal of ambulatory geometries that can also be... seen in the theatre of Dionoysos, Athens, and the SOH competition entry plus subsequent designs by Utzon architects and Peter Hall. He [Jan] took a A0 sized copy and my basic set out drawing to show Jorn [Utzon]" Trevor Waters 11 Mar 2005 During this meeting Jan confirmed that neither he or his father, Jorn Utzon, supported the idea of demolishing the podium to install new stalls seating with access via the existing ramped tunnels from level 40". The new stalls scheme I had discussed with Paul Akhurst SOH Facilities Manager on 18th Feb 2005 The Autocad drawings contains sketches of the podium geometry the conic section created by the seating which is developed from the podium walls. A section through the ribbed ceiling showing the effect of acoustic bounce back and absence of sound shadows. Based on my experience as the designer of the Capitol Theatre I sketched follow spot locations and the aero-foil effect of air-conditioning flows.

21.01.2022 ACCESSIBILITY IN MIND WITH OPERA HOUSE STAIRS When these steps were build they were built with inspiration in mind as well as accessibility. Both Peter Hall's a...nd Jorn Utzon's 1966 designs for the monument stairs included the gently sloping ramps to link the northern, eastern and western foyers. These to provided accessibility from four lifts to the side foyers. Peter Hall constructed the passages but they have remained covered over for 50 years. These far sighted designs are only now being realised. The Sydney Opera House Trust recently announced that the granite covers are going to be taken off as part of the 2016 Stage 1 Renewal Project. "...by opening more of it to the public and ensuring all upgraded Opera House spaces are more welcoming and accessible, including for people with disability" The ramps anticipate the plan to knock down and build a new Opera Theatre as they provide main access to the stalls seating to be located below the plateau. "From the Southern Foyer it will be possible to walk, almost level, to the Norther Foyer. The entrance to the two tier-levels will also be from the Northern Foyer. This new way of accessing the venue means that the Northern Foyer will have a much more central role in the activities at the Opera House." Letter from Jørn Utzon to members of the Sydney Opera House Trust 31 March 2005

20.01.2022 FROM JORN UTZON 1 [GRAND OPERA THEATRE} Letter from Jørn Utzon to members of the Sydney Opera House Trust 31 March 2005... Dear Members of the Sydney Opera House Trust, It is with great pleasure that we can now present you with our report on a refurbishment of the Opera Theatre. The intense study that I and the entire consultant team have done over the past months, clearly show that it is indead possible to create a great new Opera Theatre within the existing framework of the Opera House. By lowering the stage and the auditorium, the volume of the hall is increased, making it possible to dramatically improve the acoustical properties of the venue. We can also accommodate a greater number of patrons in the hall, making better sight-lines for all. We can achieve much better working conditions for everyone in the stage areas, thus making the operation of the stage simpler and more convenient for the people involved. The air-conditioning can be completely altered according to modern principles for air change in the auditorium, and in such a way that the present noise from the overhead plant room disappears. By moving the loading dock and vehicular access underground, with access via a ramp-tunnel from near the Tarpian Wall, we relieve the forecourt and concourse area of vehicular traffic. This in turn creates much better working conditions for loading and unloading of stage -equipment, and it makes it possible to include the central passage, at fore court level, in the general public areas. Also, by following the present proposal we will be able to introduce better access for the disabled, better seating facilities for the disabled, and areas from which tourists on a guided tour can observe the rehearsals in the hall, without disturbing these. With the new circulation system or foyer arrangement around the halls, in the zone between the interior of the shells and the exterior surface of the hall itself, new, exciting spaces and passages are added to the existing foyers. From the Southern Foyer it will be possible to walk, almost level, to the Norther Foyer. The entrance to the two tier-levels will also be from the Northern Foyer. This new way of accessing the venue means that the Northern Foyer will have a much more central role in the activities at the Opera House. These new plans for the refurbishment of the Opera Theatre have also given us the opportunity to creature the festive, colourful, delightful auditorium I envisaged in the original design. We did not necessarily want to copy that design, but used the original ideas and principles as an inspiration to create something unique, something breathtaking, something spectacular both for ears and eyes. In short, a Great Opera Theatre, a new interior in harmony with the feeling you have when you look at the Sydney Opera House from the outside. I therefore hope, dear Trust, that you can let us continue and develop this preliminary study into a realistic project for the New Opera Theatre for the Sydney Opera House. My warmest regards Jorn Utzon

19.01.2022 PUTTING A BIG HOLE IN THE OPERA HOUSE The "Pedestrian Safety Project" is a project to change the vehicular access to SOH from the front, harbour-side of the bu...ilding to the back, park-side. The new project has basically created a large hole 10 meters under sea level which will functions as a loading and goods access area. The implementation of the VAPS or Vehicle Access and Pedestrian Safety project has delivered an underground access road and loading dock which has been excavated from under the Forecourt and Concourse. The stated aim was to increase pedestrian safety and make it safer to navigate all areas of the building on the Forecourt Level. In reality, this scheme anticipates the demolition of the World Heritage Listed Opera Theatre (Joan Sutherland Theatre)

14.01.2022 I am responsible for letting these children down I did nothing about climate change in 30 years working

11.01.2022 PETER HALL / JORN UTZON SOLVED THE OPERA HOUSE JUNE 1967 After Jorn Utzon left Australia, Peter Halls produced this ingenious solution to the Major Hall. The sc...heme is made as a model over an previously unseen Utzon drawing. This base drawing is not the last one drawn in Feb 1966 of the Multi-purpose hall. Therefore, the drawing drawing could have only come from Utzon's Danish Studio during a period of contact between Peter Hall and Jorn Utzon in 1967. This design was partly constructed on site and forms the basis of the present day Concert Hall. Did Utzon have a hand in the current interiors? See more

11.01.2022 UTZONS CLASH OVER OPERA THEATRE REFURBISHMENT When Jeppe Utzon was in London in November 2008 to collect a British Precast Creativity in Concrete award on beh...alf of his grandfather he spoke out against changes to his grandfather's designs for the Opera House. Until then Utzon had planned that the existing Opera Theatre be retained and refurbished with a new ceiling and seating. This respectful design was consistent with Utzons/Peter Hall 1966 plans and his Design Principles published in May 2012. The Principles safeguard the integrity of Utzon’s version and draw heavily on his "Descriptive Narrative" that Utzon wrote in 1962. It was as if we had been asleep for 30 years and woke up to a dream. A red and gold canopy was to hover over the gentle slope of the ampitheatre.. ....People have a beautiful experience entering and walking up the stairs and entering the auditoria, while they are all the time orientated in the beautiful harbour and have views of the spectacular Sydney Harbour setting. Jørn Utzon, UDP Jeppe became concerned when this design was abandoned in favour of burying the theatre in the depths of the podium. Utzon's son and grandson clashed over the revised renovation plans,with the architect Jeppe Utzon, Jan's son, saying these risked "messing up" his grandfather's designs. "It's getting messed up [by other architects]," Jeppe Utzon told the architectural webzine Building Design. "It will be hard to distinguish who did what. It's a patchwork of ideas It is dangerous for [my father and grand-father], not so much for their reputations but for the purity [of the architecture]. It's strange they said yes to it." But Jan Utzon told the webzine his son was not well informed enough to comment on the project. He is not involved in our projects for the Opera House, and cannot possibly have any idea of how we work or what our aims are or even what we are doing, he said. He has chosen not to be involved with the Opera House..." The plan to demolish the podium and sink the audience is in my opinion inconsistent with the fundamentals of the Utzon Design Principles. It is very important that the audience doesn’t walk along dark corridors to a dark hall. Jørn Utzon, UDP The Sydney Opera House should tell people what is going on here.

09.01.2022 UTZON WOULD HAVE LIKED TO COLLABORATE WITH PETER HALL Peter Halls diaries from 1967 confirm his friendship with Jorn Utzon an an intention for Utzon and Hall to... collaborate on the completion of the Sydney Opera House. Other people mentioned in the diaries including Marion Hall Best have confirmed Peter Hall's intention to bring Utzon back "into the fold " ! The world Heritage Nomination acknowledges, on page 23, that "Peter Hall was in confersation with Utzon over various aspects of the design for at least 18 months following his departure (Hall 1967)" Peter Luck’s 1973 interview with Utzon he describes this collaboration "I fought for one year, in the strongest headwind...and we gave up only because I could not see the alterations mister Davis Hughes wanted I could not see they were good for the Opera House". http://www.abc.net.au//jorn-utzon-says-he-fought-f/7127444 Jorn Utzon's son, Jan, has copies of Peter Hall's archive with a diary and letters documenting the intention to collaborate with his father. http://www.abc.net.au//jan-utzon-son-of-jorn-and-w/7127332 I gave Jan Utzon Peters entire diary with minutes and records of conversations. He took it back to his father who was grateful for the answer to the key question: why Ove Arup said that he could go on without Utzon. Jorn had asked his friend Peter Hall to put this question to Ove Arup in London but never heard back with the full explanation. Peter also represented Utzon's views (presenting a letter given to him in person) in the crucial meeting with Davis Huges where it was decided not to have him return.

07.01.2022 FUNDAMENTAL DESIGN PRINCIPLES - HUMAN EXPERIENCE Being in another world The large staircase at the Sydney Opera House was made 100 metres wide and the plateau... on top became a very important feature for the feeling of being in another world. (2) I also have had so many reactions the moment I put a foot on a staircase with steps a hundred metres wide something happens to you, something like climbing a mountain. (4) This feeling of moving upwards was a determining factor in the shaping of the large platform. (2) The patrons will receive on their way to the theatre halls an impression of restful and dignified surroundings with a generous spacious layout. (3) Utzon Design Principles May 2002 Quotation references (2) Jørn Utzon, ‘Sydney Opera House’ 4 June 2000 (3) Jørn Utzon, ‘Descriptive Narrative, Sydney Opera House’ January 1965 (4) Jørn Utzon, Jan Utzon and Richard Johnson, ‘Private Records of Discussion’ Mallorca, April, October & November 1999 "Sinking the floor of the opera theatre below the the podium levels cuts across the core concept of Utzon's design . I was fortunate to have Utzon as a part time tutor in my final year at Sydney University in 1963 . He took our class on a tour of the S O H site and spoke at length about the podium as the organising principle for the design." Presumably this destructive and expensive idea has been abandoned." Andrew Andersons 18 Aug 2016

05.01.2022 "The Sydney Opera House has become defined by the nation for which it was built just as it has served to define this nation". Check out the video celebrating the 40th anniversary of the Sydney Opera House.

02.01.2022 UTZON COLLABORATED WITH PETER HALL AFTER 1966 The model photographed below was the initial design approved by Jorn Utzon and is much more sensitive to the "perf...ormance landscape' being above ground and completely within the shells. Because the stage and orchestra pit is not recessed into the Podium there is no need to cut the bowstring cables that hold the shells together. The stage still lacks wings but any alternative scheme only provided a shallow run off area 2.5 meters high a wing for sets. The acoustics were reported to be excellent with more seating at less cost. In a meeting 3pm on Friday 11th March 2005 I went through the issues together with Jan Utzon. We went over drawings showing the principles of the SOH ambulatory geometries that can also be seen in the theatre of Dionoysos, Athens, and the SOH competition entry. We discussed subsequent designs that Peter Hall and Utzon collaborated on after leaving Sydney in 1966. Jan took an A0 sized copy and my basic set out drawing to show his father. Peter Halls son, Will, was given a video of Jorn Utzons indearing reactions to the interiors when he saw them for the first time. At Jan's next visit I organised the reconciliation lunch between Will Hall and Jan Utzon. Afterwards I gave Jan copies of Peter Hall's archive with a diary and letters documenting the collaboration and he took them back to his father. I can not recall if this included the photos of a 1:10 scale acoustic model of the Concert Hall, about 1967, shown on page 100 of "Building a Masterpiece: the Sydney Opera House". Either Matt Carol or Jan Utzon could confirm this.

02.01.2022 REMOVAL OF OPERA HOUSE SHELL STRUCTURE PLANNED IN 2005 The enormous difficulty of lowering the stage and Opera Theatre auditorium were first investigated in 200...5. My contribution was to establish survey markers and to provide the fundamental geometry that a 3D model was based around. The Sydney Opera House: Modeling the Opera Theatre AIA Technology in Architectural Practice Knowledge Community 3rd Annual Building Information Model Awards 2012. The design team developed alternatives for the redevelopment of the Opera Theatre, recognising that cutting the bowstring cables that hold the feet of the shells together would present an almost insurmountable task. The structural support of the roof was further complicated by proposals to demolish the auditorium to below the level of the Green Room and to excavate the substage to 10 meters below sea level. I understood that Jorn Utzon had a preference for the scheme on the right below that retained the existing podium, introduced an new acoustic ceiling and extended Peter Hall's balcony as a series of side boxes. The other two schemes produced more seating and a greater acoustic volume but sacrificed the structural integrity of the shells "Once the combined structural and architectural model of 'existing conditions’ had been completed, studies were then carried out on a wide range of potential re-configurations to auditorium surfaces, within the overall constraint represented by the shell roof. This integrated modelling process was invaluable in the documentation of the schemes, to show where the existing structure remained, where the new structure was introduced and how high-level work might relate to the underside of the shell roof"

02.01.2022 UTZON'S SECRET PLAN HAS BEEN FOUND AT STATE LIBRARY There is only one public copy of the secret report on the refurbishment of the Sydney Opera Theatre to creat...e a grandeous opera theatre by demolishing the existing framework of the Sydney Opera House. It has been deposited anonymously at the State Library of NSW The report titled "Sydney Opera House: new opera theatre / [Jorn Utzon], was designed by Analise Cairis and contains 41 (41 x 66 cm) colour illustrations and colour plans. This was number 5 of a limited edition of 50 copies signed by Jorn Utzon. It includes a letter from Jørn Utzon to members of the Sydney Opera House Trust dated 31 March 2005, justifying the total demolition of the World Heritage listed Opera Theatre. The Set Loading dock has already been completed with a 14 m deep excavation extending into the heart of the building. "Pedestrian Safety Project" is a project to change the vehicular access to SOH from the front, harbour-side of the building to the back, park-side. The new project has basically created a large hole 10 meters under sea level which will functions as a loading and goods access area. "By moving the loading dock and vehicular access underground, with access via a ramp-tunnel from near the Tarpian Wall, we relieve the forecourt and concourse area of vehicular traffic." (Jorn Utzon 2005) The Sydney Opera House Trust recently announced the commencement of Stage 1; cutting through ramps to link the southern and northern foyers to provide better "disabled access". "From the Southern Foyer it will be possible to walk, almost level, to the Norther Foyer. The entrance to the two tier-levels will also be from the Northern Foyer." (Jorn Utzon 2005) There is no timetable for the commencement of Stage 2, the demolition of the Joan Sutherland Theatre. "The question here is how to allocate money for the total refurbishment of the opera theater, its stage facilities, and new backspace facilities connecting it to the underground loading dock, which is under construction. The funding is a political decision shared between the State Parliament of New South Wales and the federal government of Australia." (Jahn Utzon 2013) The Utzon plans have been closely guarded - indeed these three images are previously the only glimpse of the Sydney Opera House Trust's preferred concept design. This option involved sinking the floor of the opera theatre below the the podium levels but cuts across the core concept in Utzon's Design Principles. Utzon explains thats his own "...original ideas and [Utzon design] principles as an inspiration" rather than guidelines. "This feeling of moving upwards, was a determining factor in the shaping of the large platform or plateau, which, within its mass, could house all the facilities for preparing the performances with stage sets etc. On top of this plateau the audience should meet the performers. In this way, the appreciation of the man-made performance landscape would be very strong. The audience and the performance itself, all taking place on top of the plateau, should be covered with a light sculptural roof, emphasising the heavy mass of the plateau below." 1.1 THE SYDNEY OPERA HOUSE UTZON DOCUMENT, DATED 4 JUNE 2000 P9. "The reality is none of us have really seen the detailed plans for the Opera House," said Noel Staunton, head of the Sydney Dance Company. "When the industry sees the detailed plans we'll be able to make a valid judgment about whether - if all this money is going to be spent - it solves the problem. And if it doesn't solve the problem, how do you solve it? The design tries to solve problems that have beset it for years - including the problematic pit, poor sound, sight lines and lack of wings space in the Opera Theatre. This plans involved closing the Opera Theatre - one of the five main performing venues in the Opera House - for up to three years to address the mechanical, backstage and acoustic problems Presumably this destructive and expensive idea will be abandoned in favour Utzon's other alternative of extending the existing orchestra pit into the first two rows of seating and adjusting the existing acoustic ceiling.

02.01.2022 These are the new plans for the refurbishment of the Opera Theatre. "We did not necessarily want to copy that design, but used the original ideas and [2002 Utz...on design] principles as an inspiration to create something unique, something breathtaking, something spectacular both for ears and eyes." Letter from Jørn Utzon to members of the Sydney Opera House Trust 31 March 2005 WHAT IS NEW WORK ? New work means additions or changes to a place and is commonly undertaken as part of adaptation (Articles 1.9, 21 of the Burra Charter) where a place is modified to suit an existing use or a proposed new use. New work may include additional buildings or structures at a place, as well as alterations to an existing building, to introduce new services, or to comply with legal or code requirements. Repair involves restoration or reconstruction. (Article 1.5) Reconstruction means returning a place to a known earlier state and is distinguished from restoration by the introduction of new material. (Article 1.8) Adaptation means changing a place to suit the existing use or a proposed use. (Article 1.9) Common issues in relation to New Work Issue: Being readily identifiable does not automatically make new work sympathetic to the place. All work should comply with the Charter as a whole, and this means that while new work should be readily identifiable, it should also: 1. Not adversely affect the setting of the place (Article 8) 2. Have minimal impact on the cultural significance of the place (Article 21.1) 3. Not distort or obscure the cultural significance of the place, or detract from its interpretation and appreciation (Article 22.1) 4. Respect and have minimal impact on the cultural significance of the place (Article 22.2). An important factor in the success of new work is the quality and sensitivity of the design response. New work should respect the context, strength, scale and character of the original, and should not overpower it. The key to success is carefully considered design that respects and supports the significance of the place. Imitative solutions should generally be avoided: they can mislead the onlooker and may diminish the strength and visual integrity of the original. Well-designed new work can have a positive role in the interpretation of a place.