Best 91+ Striking Original Sydney Opera House Design For Every Budget

Utzon's Original Sydney Opera House Design

Utzon's original design for the iconic Sydney Opera House was inspired by the shape of a ship. The design was rejected by the Opera House Board of Control in 1960, however, the latest restoration of the building has revealed the original concept plan that Utzon intended. Utzon's design featured a central theatre and two open wings, which were meant to create an iconic silhouette of a sailing vessel at sunset. The exterior of the building was made up of multi-coloured precast concrete panels, which formed the majority of the structure. Despite its grandeur and intricate design, Utzon's design was eventually scrapped and the building was redesigned by Finnish architect Jorn Utzon.

Utzon's Initial Sydney Opera House Design Concept

Utzon's initial design concept for Sydney's iconic Opera House was inspired by his love of sailing vessels, which he had been designing since the 1950s. Utzon's initial concept plan featured a central theatre and two open wings, which were intended to form an iconic silhouette of a sailing vessel at sunset. The interior of the building was made up of multi-coloured precast concrete panels, which created intricate patterns and designs throughout the building. As with many of Utzon's architecture, the intricate geometry of the Sydney Opera House is an essential element of its design. Despite its grandeur and intricate design, Utzon's design was eventually scrapped and the building was redesigned by Jorn Utzon.

Beckett's Rejected Opera House Design

In 1960, the Opera House Board of Control rejected Utzon's original design and, instead, chose a less ambitious design submitted by English architect Edward Beckett. Beckett's design was a two-storey building featuring a rectangular floor plan and a complex roof system of gabled sections. The design had minimal materials and adopted an industrial aesthetic, which was a sharp contrast to the grandeur of Utzon's design. The design was ultimately rejected due to its lack of grandeur and its lack of iconic design elements. Despite Beckett's efforts, his design did not make it past the board of control and Utzon's original design was reinstated.

The Euthyphro Alternative Design

In contrast to Beckett's industrial design, British architect Maltby Euthyphro proposed an alternative plan that combined a modern and progressive design. The main concept was a large curved tower with multiple levels of terraces on either side. The exterior of the building was constructed from glass, steel and precast concrete panels, and had a symmetrical appearance. A central courtyard was incorporated in the design to create a dramatic effect when viewed from either side. The terraced balconies offered dramatic views of the Sydney Harbour and the city skyline. Although Euthyphro's design was praised for its modernity and progressive aesthetic, it was ultimately rejected by the board of control.

The Whale Design

One of the designs that was proposed as an alternative to Utzon's original design was the mammoth 'Whale' design. It was designed by Danish Modernist architect Jorn Utzon and featured a grand interior space with a curved wall and a central courtyard. The exterior of the building was made up of white precast concrete panels and featured a distinctive wave-like design. The Whale design was ultimately rejected because of its grandiosity and its lack of iconic design elements. Despite its grandiosity, the design was praised for its innovation and modernity.

The Stalactite Design

The next design that was proposed as an alternative to Utzon's original design was the Stalactite design. It was designed by Danish architect Jorn Utzon and featured a curved exterior shape that echoed the silhouette of a ship at sunset. The interior of the building was made up of precast concrete panels that created a pattern of vertical 'stalactites', which were meant to create an iconic effect when viewed from the outside. The design was rejected due to its lack of iconic elements and its lack of practicality for a building of its size. Despite its grandeur and intricate design, Utzon's design was eventually scrapped and the design was scrapped.

The Tennis Court Design

The next design that was proposed as an alternative to Utzon's original design was the 'Tennis Court' design. It was designed by Australian architect Harry Seidler and featured a large, asymmetrical floor plan with a central courtyard. The exterior of the building was made up of forty four curved precast concrete panels, which formed a distorted shape that was meant to resemble a tennis court. The design featured balconies on its top level, which offered panoramic views of Sydney Harbour. The design was ultimately rejected due to its lack of iconic design elements and its lack of practicality for a building of its size.

The Theatre Box Design

The next design that was proposed as an alternative to Utzon's original design was the 'Theatre Box' design. It was designed by British architect Sir Basil Spence and featured a narrow, cuboid-like shape with a large theatre at its centre. The interior of the building was made up of several dark precast concrete boxes, which created an intimate atmosphere for performances. The exterior of the building also featured several concave sections, which were meant to provide a dramatic effect when viewed from the outside. The design was ultimately rejected due to its lack of practicality for a building of its size and its lack of iconic design elements.

The Conical Shell Design

The next design that was proposed as an alternative to Utzon's original design was the 'Conical Shell' design. It was designed by American architects Eero Saarinen and Louis Kahn and featured a simple, curved shape that was meant to resemble an oyster shell. The exterior of the building was made up of multi-hued precast concrete panels, which were arranged in a graduated pattern to create an iconic silhouette. The design also featured a series of balconies and terraces, which offered panoramic views of Sydney Harbour. The design was ultimately rejected due to its lack of iconic design elements and its lack of practicality for a building of its size.

The Rock Opera House Design

The next design that was proposed as an alternative to Utzon's original design was the 'Rock Opera House' design. It was designed by American architect Louis Kahn and featured a unique design that resembled a honeycomb. The interior of the building was made up of multi-coloured precast concrete panels, which created an intricate and vibrant pattern when viewed from the outside. The design also featured dramatic angular balconies and terraces, as well as a large central courtyard. The design was ultimately rejected due to its lack of iconic design elements and its lack of practicality for a building of its size.

The Big Takahe Design

The last design that was proposed as an alternative to Utzon's original design was the 'Big Takahe' design. It was designed by American architect Louis Kahn and featured a curved, free-form shape that was intended to resemble a takahe (a native New Zealand bird). The exterior of the building was made up of multi-hued precast concrete panels, which were arranged in a graduated pattern to create an iconic silhouette. The design also featured a series of balconies and terraces, which offered panoramic views of Sydney Harbour. The design was ultimately rejected due to its lack of iconic design elements and its lack of practicality for a building of its size.