![]() A combination of political inexperience and perhaps even a naivety born of cultural differences helped those building a case against him to mount an argument for his removal. ![]() While it is tragic that Utzon is blamed for these deficiencies, the impact of his failures regarding client management and response to the Australian procurement context did not help his cause. Layouts from the original feature have been reproduced by F1 colour The Sydney Opera House featured on the cover of AR September 1973, including the final plans. This period also included a change in brief, most famously switching the opera and concert halls – and resulting in the dismantling and trashing of an entire flytower (worth a million Australian dollars in 1966). These intergenerational political failures around the treatment of the building and its author (and the cultural conditions underpinning them) have been covered exhaustively in a series of books and films. We know that the project lost its way due to a number of client changes – a key factor being the forced resignation of major advocate Eugene Goossens following pornography charges. The vexed relationship between the building and its owner, and protocols around how it should be treated, continue more than half a century since Utzon won the competition in 1956. Public condemnation was swift, but the projections went ahead, approved by a Liberal (conservative) government – the same party that sacked the building’s architect Jørn Utzon in 1966. Image courtesy of Mark Metcalfe / Getty Images The leader of the Liberal Party Gladys Berejiklian overruled Opera House management to allow Racing NSW to promote the Everest Cup on the sails of the iconic venue. In October last year, large crowds gathered to protest against racing advertising on the Opera House sails.
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