![]() ![]() However, universal access is essential and Andrew Hayne of ARM explained that dozens of solutions were investigated before this design was chosen. For someone who has visited the Opera House hundreds of times since its 1973 opening, it was a shock to see a large opening in the middle of the familiar monumental stair. A key feature of Utzon’s concept was the gradual ascent up both sides of the hall to the top of the podium, which left no obvious location for the incorporation of vertical lift shafts. ![]() Photograph: Anna Kucera.Įqually challenging as the acoustics was the need to provide equity of access to gallery seats and the magnificent northern lobbies that face Sydney Harbour. It is my view that Hall would have welcomed the magenta reflectors (which match the upholstery on the audience seats) and richly modelled box fronts, though I understand this is not an opinion shared by all.Ī passageway has been inserted on the eastern side of the concert hall, enabling independent wheelchair access to the Northern Foyer. Hall was keen on the use of strong colours and the visual impact of natural materials the palette of the Opera House carpets and upholstery, not to mention the rarely seen John Coburn stage curtains, are testament to this. I believe that this issue could be easily corrected with the right advice. Unfortunately, the stage lighting, which has to be at the same level as the reflectors, is glary from seats in the stalls and causes the box fronts to look a little intrusive from certain angles. Richly modelled timber panelling has been applied to the front and rear walls of the concert hall’s boxes.Īll these elements, plus mechanical risers that allow a tiered layout for the orchestra, result in early reflections (and less reverberation), benefitting both audience and players with a richer and clearer sound. ![]()
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