Within the arc-like space in the original footprint was also a series of structures that had been added, along with a back-of-house kitchen that needed to be upgraded for the Trippas White Group, which operates this function centre.

Reporting to the Eminent Architects Panel, every alteration by TZG was carefully overseen.

“We took our design cues for any new flooring from Peter Hall’s fan pattern produced at the time. Where new openings had to be made, these are also clear,” says Greer, pointing out the dull brass-clad portals separating the spaces.

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Even the treatment of the concrete walls, some board-printed while others, patchwork-like (showing a series of changes made to this space over time) were exposed, rather than glossed over.

“In a sense, these different treatments of concrete reveal the Opera House’s history, not dissimilar to archaeological layers, but aligned to a modernist architectural period.

“It’s storytelling,” he adds.

One of the exposed concrete pillars supporting a massive structural load loosely resembles the scales of a fish across its surface.

Given there was a need for flexibility, TZK created a series of six curved operable doors that “morph” into different shapes, depending on requirements. Constructed in brass and finished with five striations of blue fabric, including cobalt through to navy and blue-greys (the signature colours of the Opera House), this ribbon-like design animates the spaces. When the entire area is required, these doors are set back into the corridor directly behind.

“Utzon was committed to using raw and natural colours, expressing the weave in each fabric,” says Greer, who was as mindful of ensuring any new apertures, such as a new front door and entrance to the Yallamundi Rooms, had a sense of authenticity.

Fortunately, the new doors are original and were found in storage in part of the Opera House’s archive of original fixtures and fittings.

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Other interventions, such as the plywood “wobbly panels” that appear across the ceiling to conceal services and provide acoustic control, are partly original and partly new in the same design.

For Greer and his team, and all those specialists who were involved, the Yallamundi Rooms now not only tell us a story, but also enable unimpeded views of the harbour.

“It’s a privilege to be able to create a significant new public space at the Sydney Opera House and be part of both Utzon’s and Hall’s vision,” adds Greer.