Workman Domenico Quaranta was here in 1964 and former Opera House Trust chair Joseph Skrzynksi in 1997. Inside, a privileged few who have come this way before have graffitied their names on the concrete cavity beneath the tiles. We then shimmy up the spine of the largest sail through a confined space a claustrophobic’s nightmare.
We scale spiral staircases made from original brushbox timber up to the “catwalk” above the Concert Hall ceiling to the crown of the building. Like peeking underneath a haute couture garment, on the way up we get a glimpse of the fine craftsmanship in parts of the building the public never sees. Opera House building operations manager Dean Jakubowski makes his way through the passage to the crawl space leading to the top shell of the sails on section A2. “But that was absolutely intentional.”Ī rooftop visit is a rare honour, and comes 60 years after work began on stage two of the building – the roof and tiles. “People think when they come on site on a dull day that the sails aren’t so white,” says Jakubowski, a former carpenter who now gets to abseil all over Australia’s best-known building for a job. Sydney skyline is seen from the top of the A2 shell. These are questions building operations manager Dean Jakubowski is asked often, including on top of the A2 sail – the building’s largest – when this masthead spends a day with him. Normal text size Larger text size Very large text sizeĪfter more than half a century of scorching sun, torrential rain and fallout from fireworks and bushfires, are the tiles on the Sydney Opera House looking a little less white? And what about mould, lichen, dirt, dust, chips, cracks and bird poo on top of the world’s most famous set of sails?
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