The Sydney opera house was completed in 1973 and is one of the greatest architectural works of the 20th century. It brings together incredible creativity and inspiring feats of innovation.

Danish architect Jørn Utzon was awarded the Sydney Opera house project in 1957 by an international jury. There were 200 entires. Ove Arup, a very innovative engineer, allowed the vision to become a reality.

The Sydney Opera House has 3 groups of interlocking vaulted “shells” which act as a roof to two large performance halls and a restaurant. These shells are on top of a large platform and are surrounded by terrace areas that you can walk around.

Innovations:

• The pioneering use of computers to calculate the stresses and loads on the two-way curved roofs
• The development of a way to build the roofs in concrete
• NSW government met the $103 million price tag by appealing to the Australian love of gambling, through the profits from a series of Opera House lotteries
• The Sydney Opera House became a testing laboratory and a vast, open-air pre-casting factory
• The pipe organ in the concert hall of the Sydney Opera House was designed and built by self-taught organ builder Ron Sharp between 1967 and 1979. When the organ was finished it was the largest mechanical organ in the world, with innovative features such as electronic stops control and a computerised playback system

Design lessons:

1. Keep your design briefs open & inspiring

This allowed the project to attract the best design talent from all over the world. The lack of design parameters or budget meant that the sky was the limit and architects could think really really big. The only requirement in the brief was a design for a dual function building (sculpture and opera house) with two performance halls.

2. Trust the designer

They chose the design that they found the most inspiring and the most appropriate for their needs. They didn’t focus on who Jørn was, or what he had done previously. They chose his design, his work, his inspiration. Not him. There would have been many reasons why picking him could have been considered risky. He had limited experience, his design was rudimentary and very very unique. Additionally, it had been drawn up in the absence of any engineering advice.

3. Run Lean

The drawings submitted were mostly diagrammatic, and the design had not been fully costed. They had no idea whether this project was even feasible, but they all felt it had something really special and stood out. They were willing to accept the very basic documentation, and to be sold into the dream of this incredible idea.

4. Prioritise the experience

Jørn Utzon’s design concept included unprecedented architectural forms and demanded solutions that required new technologies and materials. They were prepared to take it on, regardless of how tough it would be build. They used it as an opportunity to learn new things and to break new ground. Being undaunted by this sort of thing is essential if you want to make something really innovative. Every project is a chance to innovate at a micro and macro level. The opera house even became a testing laboratory and a vast, open-air pre-casting factory.

5. Keep the quality bar high

The Government was under public pressure to select an Australian architect. They didn’t break under peer pressure, they insisted on choosing the right design and would settle on nothing less. It is important to stick to what you believe in, however hard it gets, and not settle for less.

6. Design and Engineering need to work together

Design and construction were closely intertwined. Utzon’s design together with his radical approach to the construction of the building allowed for an exceptional collaborative and innovative environment. This was completely unprecedented in architecture to date. A collaborative environment is essential to a very fertile innovative environment.

7. Don’t underestimate the cost of innovation

The Sydney Opera House took sixteen years to build. It was six years late and ten times over budget from its original estimated cost. Ouch! I guess this is the material cost of innovation.

8. Get a great project manager

People still argue about how well Utzon managed the project. The building was finished in 1973 without him. The creative and strategic minds should be able to think huge, but at the end of the day, someone needs to manage the whole thing sensibly. A good learning here is to pick an experienced pm.

9. Design principles FTW

In 1999, Utzon formally re-engaged with the project by setting down design principles outlining his vision for the building and explain the principles behind his design. This means that this masterpiece of innovation can be protected and looked after by future generations. It is important to document what you need to, to ensure that your innovation has a life beyond you and your team.

10. Think big(ger)

This was a truthfully visionary project, which places Sydney on the map as a city. It is not only an iconic building in terms of architecture, but also a great cultural hub for the city. Its design is so unusual it is timeless. It’s more than just “A place for people to come and see performances” but the poster child for innovation, design and culture in Australia.

These lessons show us that innovation requires inspiration, courage, determination, vision, and an appetite to see beyond what you think the requirements are.