This three-part series in The Australian newspaper appeared over four days in September 1965.

The Vision and the Anger - The first part in the series outlines the controversies that marred the project from conception, chiefly the enormous budget overspends, political response, and issues with the practical construction. These are contrasted with the enormous international excitement for the spectacular building, and it is suggested that the outlined problems may be forgiven in the mission for a truly world-standard venue. Boyd recounts how mounting public pressure has resulted in construction commencing before all details are finalised, causing new problems, and placing the blame with the impatience of Sydney as a city. Boyd questions if it is fair to judge the unfinished building, and asks “And will it all be worth the troubles in the long run?” (manuscript pdf, article pdf)

Where the Money Went - Boyd introduces architect Eero Saarinen and his key role as one of the judges of the Opera House Design Competition. At the time, Saarinen was fascinated by curved concrete shell construction and the countless possibilities it represented. Boyd describes the original submission from Utzon;  a ‘set of sails’ upon a ‘concrete hillside’, and how the programming of the spaces was so unlike any other. By the time the design had won and been received with such excitement by the public, top engineers across the world had discovered the original design impossible to construct. Utzon’s revised solution, having each ‘sail’ conform to the same radius ultimately ‘saved’ the design, but at an enormous increase in construction cost. (manuscript pdf, article pdf)

Sydney, The Reluctant Patron - The final part argues that despite doubts and practical concerns, the Opera House represents a rare and important artistic achievement, positioning Sydney as an unexpected but meaningful patron of high culture on the world stage. Three questions are posed; ‘will it work?’ (in a practical sense), ‘Will the exciting vision remain exciting?’, and ‘what will the whole venture do for Australian art and enlightenment?’. The first question is swiftly answered, with Boyd accounting the vast amount of acoustic research going into the project.  The following two questions are almost answered together: despite the large expense, the building will impress and demonstrate Sydney’s dedication to art, rather than be a point of ridicule. Boyd suggests that by standing by Utzon’s bold plan Sydney will ultimately have a world-class monument of ‘ultimate importance’, and that all the teething pain will have been well worth it. (manuscript pdf, article pdf)