![]() ![]() The judges commented on the project’s “very skilful planning.”īut coming fourth in the contest didn’t mean the end for Kollar, who had a big part in the ultimately unsuccessful campaign to keep Jørn Utzon in charge of the building project after the Dane fell out with the NSW government. Refugees from the communist regime in Hungary, Kollar and Korab’s entry was the highest ranking entry from an Australian entity. Peter Kollar and Balthazar Korab’s Design Gossen was not only the conductor of the Sydney Symphony Orchestra but also the director of the NSW State Conservatorium of Music and one of the key voices in demanding for an opera house to be built.Ĥ. And the boxy design and emphasis on walking can’t help but recall the tilted ground-to-roof walkway of Oslo Opera House in Norway, built fifty years after Boissevain and Osmond’s unrealised vision.Īlthough never entered into the competition the design created by Sir Eugene Goossen could have been realised as the designer held substantial political sway. However, the judges were impressed with the human scale of the building and it’s promenade. The Dutch-British team’s entry was rather conservative next to Marzella and Utzon’s concrete seashells, which is why it was consigned to third place in the contest. Paul Boissevain and Barbara Osmond’s Design It may have been pipped at the post, but the Philadelphia team continued to work together after this promising debut, forming the award-winning design group Geddes Brecher Qualls Cunningham (GBQC).Ģ. Like the winning design, the structure was inspired by the seashell form and was to have utilised the latest techniques in the use of concrete. Second place in the competition went to this submarine-shaped opera house, created by an improvised team of seven designers in Philadelphia. ![]() Philadoperaelphia Collaborative Group’s Design So we unearthed seven of the best and brought them to life in a series of renderings.ġ. So outlandish is winning architect Jørn Utzon’s array of concrete shells, we couldn’t help but wonder what some of the other 222 competition entries might have looked like. Although they never made it past the design stage, they are interesting enough in themselves and put a light on what could have been in place of the stunning design that we have now. Exhibitions, Associations & Informationįollowing are seven designs that did not make the final cut for the design of the now world-famous Sydney Opera house.Ceilings, Internal Wall Materials & Partitioning. ![]()
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