211:, in February 1966. At the age of 34, he was invited by the Government Architect to act as design architect in the newly formed consortium Hall Todd & Littlemore to resolve the issues which had led to Utzon's resignation, principally the design of all the interiors and the enclosing glass walls of the unfinished building. The Opera House opened in October 1973 and despite its subsequent success as Sydney's most popular performance venue, understanding of the work of Hall and his team has been coloured by the controversial circumstances of their appointment. For Hall, both personally and professionally, Utzon's legacy was a poisoned chalice – an unprecedented challenge to complete the building to a standard commensurate with its sublime exterior, but one that brought little recognition during his lifetime.
448:, appreciating the finer things of life: sleek cars, good wine, theatre and lively conversation. He played cricket, golf and squash and, although slightly built, was remembered for his quick reflexes and strong competitiveness. Friends and former colleagues cite his professional honesty and courtesy, his readiness to listen to and absorb the ideas of others, to compliment and champion where appropriate and to work collaboratively with fellow architects and consultants: ″as an architect to work for, he knew what he wanted to see and didn't change his mind — he was the best fellow I've ever worked with, bar none. ... He didn't interfere in the technicalities of how it happened. What he was interested in was the finished result ... it was a relationship that I enjoyed enormously. He was good.″
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319:, of Rudder Littlemore & Rudder, was responsible for construction supervision and Lionel Todd, of Hanson Todd & Partners, for contract documentation. None of the three architects had met before, let alone worked together. Hall, as design architect, was confronted with a logjam of problems, not the least of which was the pressing need to resolve the stalemate over the conflicting seating and acoustic requirements of the dual-purpose main hall. Writing later of the dilemma faced by the new architects in 1966, Hall lamented the 'complete lack of a brief and input of user organisations':
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356:. Utzon benefitted in his later career from the building's status but for Hall, who died in impoverished circumstances in 1995, acknowledgment has only come posthumously, due much to the controversial nature of his appointment and a lack of awareness of the complex issues he and his team faced in early 1966. Hall rarely talked about the difficulties confronted in completing the Opera House but his dedication in a book given to Concert Hall project architect John Zaat in 1973 provides a poignant reminder of the impact of the project on his professional and private life:
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377:. In 2015 the association OpusSOH Inc was formed to promote recognition of Hall’s work and in 2016 he was the subject of the Australian Broadcasting Commission’s documentary ‘Australian Story’. The fourth, revised, edition of the Opera House Conservation Management Plan (2017) acknowledges and documents Hall and his team's contribution, assessing the radially-ribbed plywood Concert Hall as of ‘exceptional significance’ within the building's significance hierarchy.
425:, the Marionette Theatre of Australia, and chaired the Theatre Board of the Australia Council. Peter Hall died of a stroke on 19 May 1995, his deteriorating health perhaps exacerbated by the rekindling of old controversies in the exhibition, ‘Unseen Utzon’, at the Opera House in late 1994 and early 1995. He is survived by his second wife Penelope and five adult children to two marriages. Hall's first wife Libby, from whom he was divorced in 1969, died in 2016.
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398:. He brought his management skills to bear on the task of revitalising a somewhat moribund and engineer-dominated public office which employed over 400 architects throughout Australia. He transformed the organisation of architectural services, integrated design and construction teams, involved leading private practice firms in design work, and activated a range of review panels for major projects including the
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Records show that Hall was unafraid to go into battle with the government to ensure the highest quality fittings and fixtures and strong contemporary colours. At the media launch of the seating design in 1972 he declared ‘I’ve chosen clear, strong colours like the ones
Matisse used … Nobody's going to walk through muted, grey interiors here.’
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buildings’. More recently a number of research projects and publications have examined Hall's career and reassessed his role in the completion of the Opera House. Research has been informed by a re-examination of the circumstances leading to Utzon's resignation and the revelations of Hall’s personal papers, now in the collection of the
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technological hurdles. By the mid-1960s issues of cost, politics, Utzon's relatively unorthodox design methodology, vague user requirements, lack of resolution over the interiors and the slow pace of the project had created a troubling impasse. Utzon's shock resignation on 28 February 1966 reverberated around the world.
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To this end Hall undertook an extensive study tour of concert and opera halls in Europe and the USA in mid 1966. His subsequent recommendation to the government, with the support of international theatre and acoustic experts, was that a single-purpose main auditorium was the ideal around which a new
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in 1949. He was first a student of languages and archaeology, then transferred to architecture, graduating with degrees in both
Architecture (1957) and Arts (1958). In undergraduate years he also held a traineeship with the Government Architect's Office of the NSW Public Works Department, working in
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Hall enjoyed overseas travel, his letters and travel diaries recording his wide-ranging interests — art, architecture, history – and cultural curiosity. Throughout his adult life he remained closely attuned to contemporary art and design trends. In the mid 1960s he designed renowned Sydney interior
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Winning the
University of Sydney's Hezlet Bequest Scholarship in 1958, Hall travelled overseas and in June 1959 married Libby Bryant, a former University of Sydney architecture student, in London. They embarked on an extended tour of Europe. Hall was particularly absorbed by the architecture of the
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Killara; individual houses and commercial projects; and the Blue Circle (now Boral) Southern Cement Plant at
Berrima, NSW, consulting to Ove Arup and Partners. The Berrima project was awarded the Concrete Institute of Australia's Award of Excellence in 1979 and is notable for Hall's characteristic
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I had to choose a design architect who would replace Utzon. I then asked Peter if he would do this but warned him that the project would always be mixed up with politics. That it could lead to fame for him or the reverse ... After a great deal of thought he accepted. He succeeded beyond doubt but
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fabrics. For the Opera House he specified bold carpet and upholstery colours as a counterpoint to the dominant concrete and plywood interior elements and, with interior designer Diana Luxton, designed the moulded plywood theatre seating – still in use today – to complement the interior cladding.
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From the announcement of Jørn Utzon's winning Opera House competition entry in
January 1957 to the building's opening in October 1973, the project – and its architects, consultants and contractors – were dogged by controversy, political intervention, cost escalations and unprecedented design and
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in 2006 in recognition of his contribution to the Opera House. The jury cited Hall's interiors as ‘among the major achievements of
Australian architects of the 1960s and 1970s’ and that they combined with Utzon's ‘great vision and magnificent exterior’ to form ‘one of the world's great working
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When he accepted the commission Hall had assumed that he would face the relatively simple task of completing Utzon's well-resolved designs, only to be confronted with the complex challenge of designing entirely new theatres to a new brief, within the existing concrete shells. The design of the
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Following the challenges of completing the Opera House, Hall established a practice in North Sydney (1969—1992) first as Hall and
Anderson, later Hall and Bowe, then Hall Bowe and Webber. He was responsible for the design of numerous buildings including the Sports and Aquatic Centre at Sydney
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For example Utzon was re-engaged on the Opera House in 1998 to advise on alterations and additions to the building and to formulate a set of design principles for its future conservation and use. See Hanna, B and Hale, P, "'A Masterpiece of Human
Creative Genius'" in Watson, A,
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his practice was also informed by a strong sense of the importance of function and context in design. During his early years Hall was the recipient of numerous education scholarships and bursaries, most notably a traineeship and then employment with the office of the
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In the mid 1980s Hall worked on the design of the forecourt of the Sydney Opera House, developing its form, structure, paving and finishes in association with the office of the NSW Government
Architect. The forecourt won the Lloyd Rees Civic Design Award in 1988.
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Despite its long and conflicted gestation, since its opening in
October 1973 the Opera House has been highly successful – with audiences, performers and visitors and as an inspirational masterpiece of 20th century architecture. In 2007 the building was declared a
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brief should be structured. Released a few days before Christmas 1966, the ‘Review of Programme’, with its central proposal for a 2800-seat concert hall and the relocation of opera to the Minor Hall, provoked a furore unprecedented even by Opera House standards.
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The job was being built, in effect, without definition of what was expected of it. ... One of the accusations made ... was that we would reduce the quality of the job. We had no such intention. The big question, though, was what were we supposed to
256:, unsuccessfully seeking short-term work because he could not stay long enough to make his employment worthwhile. After this comprehensive ‘grand tour’ the couple returned to London where Hall gained further experience in the office of
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In the ensuing tumult Hall, despite his initial support for the ‘Return Utzon’ cause, contentiously accepted an invitation to form the consortium Hall Todd & Littlemore, established by the government to finish the
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describing Hall and his colleagues as 'obedient practitioners' almost succeeded in obliterating everything Utzon had worked so long to achieve'. (Myers, P, "Sydney Opera House" in Goad, P and Willis, J,
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Mediterranean countries and also admired the early work of Jørn Utzon who in 1957 had won the design competition for the Sydney Opera House. In Denmark Hall included a visit to Utzon's studio in
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in 1964. Goldstein Hall established Hall's reputation in the architectural profession and in early February 1966 he left the Government Architect's Office to begin private practice.
850:, Powerhouse Publishing, Sydney, 2013 (2nd ed), 177–180. By contrast Hall continued to be pilloried by members of the architectural profession, the entry on the building in the 2012
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John Coburn, 'Curtain of the Sun' tapestry. Designed for the Sydney Opera House Opera Theatre stage in 1970 and shown here when hung temporarily in the Concert Hall in 2019.
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Sydney Opera House forecourt and concourse soon after completion in 1988. Hall worked on the project in conjunction with the New South Wales Government Architect's Office.
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Returning to Sydney to work in the Government Architect's office, Peter Hall was responsible for designing a range of public buildings. These included extensions to the
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Peter Hall, Goldstein Hall refectory, University of New South Wales, Sydney, 1964. The Goldstein college complex won Hall the prestigious Sulman Medal in 1965.
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Sydney Opera House under construction as photographed by Hall in late 1965, shortly before he replaced Jorn Utzon as design architect on the building.
194:(16 May 1931 – 19 May 1995) was an Australian architect active in Sydney and elsewhere from the 1950s to the early 1990s. Schooled in the tenets of
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to design the huge stage curtain tapestries for the Opera Theatre and Drama Theatre. The ‘Curtain of the Sun’ and ‘Curtain of the Moon’, woven at
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Hall Todd & Littlemore architect Richard Wydell interviewed by Ruth Thompson, 21 August 1986. Dennis Wolanski Collection, Sydney Opera House.
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in France in the early 1970s, are among the many significant legacies of Hall's seven years at the helm of the Opera House design completion.
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enclosing northern glass walls alone posed unprecedented technical problems which were resolved through the collaboration of Hall and
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Watson, Anne. 'Peter Hall and the Sydney Opera House: the "Lost" Years 1966–70', PhD thesis, University of Sydney, 2013.
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Watson, Anne (2017). "Chapter 4. 'An Agonising, Impossible Decision': the Controversy of the 'Review of Programme'".
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Watson, Anne. '"That Immense and Complicated Thing": Peter Hall and the Challenge of a Career' in A Watson (ed),
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A Watson, 'Peter Hall and the Sydney Opera House: the "Lost Years" 1966–1970', PhD thesis, Uni of Sydney, 2013
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EH Farmer, 'Peter Brian Hall 19.5.95' (Farmer Papers, SLNSW MLMSS 7703/30, Memoirs 1973-96/Book 10, pp 80–82)
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Watson, Anne. 'Divided Loyalties: Peter Hall, Philip Parsons and the Dilemma of Utzon's Return',
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Watson, Anne. 'After Utzon: Peter Hall and the Trip that Changed the Sydney Opera House', paper,
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Sydney Opera House: the Design Approach to the Building with Recommendations on its Conservation
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https://www.doubledialogues.com/article/a-tilted-tale-how-the-sydney-opera-house-got-its-seats/
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Watson, Anne. 'Conspiracy or Coincidence: the Curious Case of the Disappearing Model', paper,
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there is no doubt he sacrificed his career in loyalty to his profession and to me personally.
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This collection of 179 photographic prints is now held by the Powerhouse Museum, Sydney.
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University; North Sydney Technical College Stage 7; renovation and conversion of the
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In 2006 Hall was awarded the Royal Australian Institute of Architects’ (NSW Chapter)
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John. A reminder of a successful struggle in which we both suffered. Peter Hall, 1973
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From 1977 to 1980 Hall accepted a three-year contract as Director of Architecture,
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After Hall's death former Government Architect Ted Farmer penned a moving eulogy:
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in the far west of the state. A high-achieving student, he won scholarships to
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1135: This article incorporates text by Peter Webber available under the
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In community service Hall contributed his expertise as a board member of the
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Peter Hall befriended and supported many Sydney artists including sculptor
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Respecting the Vision: Sydney Opera House – A Conservation Management Plan
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For a comprehensive bibliography of the history of Sydney Opera House see
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Hall, Peter. Epilogue, 'Function is not a "Dirty" Word' in Michael Baume,
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Respecting the Vision: Sydney Opera House – a Conservation Management Plan
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Peter Hall, Marion Hall Best's design shop, Woollahra, Sydney, about 1966.
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Watson, Anne. 'A Tilted Tale: How the Sydney Opera House Got its Seats',
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Hall, Peter. 'The Design of the Concert Hall of the Sydney Opera House',
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Hall was born in Newcastle, New South Wales and spent his childhood in
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For Hall's career after the Opera House see Peter Webber (2012),
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license. The text and its release have been received by the
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Souter, Gavin (12 February 1972). "Furnishing the Opera House".
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Reviewing the Performance: the Design of the Sydney Opera House
934:, The Watermark Press, Boorowa, Australia, 2012; Woolley, Ken,
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Reviewing the Performance: the Design of the Sydney Opera House
872:, John Sands, Sydney, 1972, frontispiece. Private collection.
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Commonwealth Department of Housing and Construction, Canberra
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Commonwealth Department of Housing and Construction, Canberra
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ABC News. The Man who Fixed the 'Plain Illegal' Opera House
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The Poisoned Chalice: Peter Hall and the Sydney Opera House
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The Poisoned Chalice: Peter Hall and the Sydney Opera House
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The Poisoned Chalice: Peter Hall and the Sydney Opera House
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https://ses.library.usyd.edu.au/handle/2123/13246?show=full
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Google Arts & Culture, Sydney Opera House: Peter Hall
681:, Cambridge University Press, Melbourne, 2012, pp 308–309.
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Webber, Peter. 'Peter Hall' in P Goad and J Willis (eds),
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Watson, Anne. 'Sydney Opera House' in H Lewi and P Goad,
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Journal and Proceedings, Royal Society of New South Wales
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Interior of Sydney Opera House Concert Hall, about 2017.
1003:. Sydney 4th edition: Sydney Opera House. p. 122.
963:"opusSOH: Completing the Sydney Opera House 1966–1973"
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Cultural Crossroads: the 26th Annual SAHANZ Conference
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strong and elegant integration of structure and form.
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Australian Dictionary of Biography, Peter Brian Hall
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Peter Hall, Architect: the Phantom of the Opera House
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Peter Hall, Architect: The Phantom of the Opera House
588:, University of Auckland, New Zealand, 2–5 July 2009.
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Website, OpusSOH: Completing the Sydney Opera House
756:Hall, Peter (July 1972). "Monument into Building".
663:, Thames & Hudson, Melbourne, 2019, pp 148–151.
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https://meanjin.com.au/essays/the-poisoned-chalice/
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732:"Peter Hall and the completion of the Opera House"
607:Audience: the 28th International SAHANZ Conference
1119:"The Coburn Tapestries at the Sydney Opera House"
1031:, Watermark Press, Boorowa, Australia, pp 77–116.
859:Cambridge University Press, Melbourne, 2012, 674.
505:Boyd, Robin. 'Now it can Never be Architecture',
207:after the resignation of its original architect,
938:, The Watermark Press, Boorowa, Australia, 2010.
552:Ove Arup: Masterbuilder of the Twentieth Century
518:, Sydney, 4th edition, Sydney Opera House, 2017.
848:Building a Masterpiece: The Sydney Opera House
625:Building a Masterpiece: the Sydney Opera House
248:the office after graduation until early 1966.
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1242:People educated at Cranbrook School, Sydney
106:New South Wales Enduring Architecture Award
932:Peter Hall: the Phantom of the Opera House
868:Hall, Peter, dedication in Sowden, Harry,
618:, vol 22, no 2, December 2012, pp 164–185.
527:, Thomas Nelson, Sydney, 1967, pp 109–117.
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289:Royal Australian Institute of Architects’
857:Encyclopedia of Australian Architecture,
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852:Encyclopedia of Australian Architecture
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679:Encyclopedia of Australian Architecture
1094:Sydney Morning Herald Weekend Magazine
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690:, Watermark Press, Boorawa, NSW, 2010.
672:, Watermark Press, Boorowa, NSW, 2012.
638:Watson, Anne. 'The Poisoned Chalice',
554:, Yale University Press, London, 2006.
337:, the project's structural engineers.
1196:Peter Hall papers, State Library NSW
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1144:; for more information, see the
930:, opusSOH, Sydney, 2017; Webber, P,
775:. Sydney: OpusSOH. pp. 79–102.
201:New South Wales Government Architect
149:Hall Todd and Littlemore (1966—1969)
277:University of New England, Armidale
269:Law Courts in Taylor Square, Sydney
111:Lloyd Rees Civic Design Award, 1988
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561:The Saga of the Sydney Opera House
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1141:Wikimedia Volunteer Response Team
908:"Institute of Architects Award".
570:, Allen & Unwin, Sydney, 2018
545:, Sydney Opera House Trust, 1990.
400:Australian Defence Forces Academy
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1042:"Art with a View: The Forecourt"
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798:Sydney Opera House Glass Walls
577:Sydney Opera House Glass Walls
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525:The Sydney Opera House Affair
285:University of New South Wales
258:Anderson Forster & Wilcox
265:Registrar-General's building
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883:"Awards, RAIA State Awards"
758:Progress at the Opera House
609:, Brisbane, 7–10 July 2011.
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563:, Spon Press, London, 2004.
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536:, vol 106, 1973, pp 54–69.
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438:Personality and interests
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237:Cranbrook School, Sydney
381:Post-Opera House career
335:Ove Arup & Partners
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800:. Sydney: John Sands.
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223:Early life and career
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822:"Sydney Opera House"
575:Sowden, Harry (ed).
375:State Library of NSW
241:University of Sydney
178:Goldstein House UNSW
158:Hall Bowe and Webber
77:University of Sydney
597:, 13, Summer 2010,
364:Belated recognition
354:World Heritage Site
239:(1943), and to the
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279:. His design for
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146:Private practice
92:Years active
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