Following the lifting of travel bans, the number of international tourists visiting Australia has steadily increased. Among Sydney’s most prominent attractions, the Sydney Opera House remains a near-essential destination for almost every visitor. Dr. Mengbi Li, a Senior Lecturer in Built Environment at Victoria University and a Research Fellow at the Institute for Sustainable Industries and Liveable Cities, underscores the importance of understanding the narratives and cultural contexts behind architectural works. She notes that this deeper understanding not only enhances the appreciation of their artistic value but also enriches the overall travel experience. Dr. Li further observes that architecture serves as a profound medium of cultural exchange between different regions, a phenomenon clearly reflected in the architecture and urban design of both Australia and China.
The Architect of the Sydney Opera House
The Sydney Opera House, a hallmark of global architecture, was conceived by Jørn Utzon, who was awarded the prestigious Pritzker Architecture Prize, often regarded as the ‘Nobel Prize of architecture’.
Utzon was introduced to the Yingzao Fashi, an ancient building code or architectural treatise from the Song Dynasty, dating back to the twelfth century. His uncle, Einar Utzon-Frank, owned a copy of this influential building code, which had been acquired in Shanghai by Osvald Sirén, a distinguished art historian with a profound interest in Chinese culture. Sirén’s numerous visits to China culminated in several significant publications on Chinese art and architecture. The Chinese rendering of Sirén's name, whether translated as 'Xilongren' or 'Xirenlong', will not be explored further here. The Yingzao Fashi eventually found its way to the Royal Danish Academy of Fine Arts, where Utzon was a student.
Jan Utzon, Jørn Utzon’s eldest son, recalls that Utzon-Frank encouraged his nephew, Jørn Utzon, to draw inspiration from Eastern cultures. Utzon’s contemporaries at the Royal Danish Academy of Fine Arts, Tobias Faber and Else Glahn, similarly cultivated a deep interest in traditional Chinese architecture and later emerged as prominent scholars in the field. Else Glahn, in particular, became a leading authority on Yingzao Fashi in the West and established an Institute of East Asian Studies in Denmark, while Faber later served as principal of the Royal Danish Academy of Fine Arts’ School of Architecture.
Jørn Utzon himself developed a profound appreciation for Chinese architecture and literature, particularly the works of Lin Yutang. This influence was such that Utzon’s family avidly read Lin’s books, and his daughter was named Lin Utzon, in homage to Lin Yutang.
An abstract analysis of the Sydney Opera House reveals its expansive, curved roof, which appears to float atop a grand platform. This design is Utzon’s interpretation of traditional Eastern architecture. Some scholars have noted that the unique structure of the Sydney Opera House’s ceiling bears a resemblance to the traditional Chinese architectural element dougong. Traces of traditional Chinese architecture are also evident in many of Utzon’s subsequent designs. For further exploration of this architectural dialogue between Australia and China, initiated by Jørn Utzon, please refer to the works of scholars such as Tobias Faber, Else Glahn, Kenneth Frampton, Peter Myers, Philip Drew, Zhao Chen, Xing Ruan, and more recently, Chen-Yu Chiu.
Architecture as a Powerful Bond of Cultural Exchange Between Australia and China
Johann Wolfgang von Goethe eloquently describes architecture as ‘frozen music’, a metaphor that underscores the art form's capacity to evoke emotional responses and embody aesthetic ideals. Beyond this, architecture can also be conceived as a form of language. Similar to written symbols, architectural design conveys complex emotions, articulates cultural and philosophical ideals, and transcends physical boundaries. In this way, it becomes a powerful medium for human interaction, facilitating communication that extends beyond mere functionality to resonate on a deeply symbolic level.
The enduring legacy of Chinese immigration in Australia is vividly encapsulated through historical sites like Melbourne’s Chinatown and the Bendigo Joss House Temple. Chinese immigrants began settling in Australia nearly two centuries ago, with Melbourne’s Chinatown emerging as the largest and oldest of its kind in the Southern Hemisphere. This vibrant cultural enclave traces its origins back to the mid-19th century gold rush, a period that also saw the establishment of the Bendigo Joss House Temple in central Victoria, dating to 1871. During the height of the gold rush, the influx of Chinese immigrants led to the construction of up to seven Chinese temples in Bendigo. However, as the gold rush subsided, the population of Chinese miners gradually diminished, and by the 1930s, the Joss House Temple had fallen into disuse and was eventually abandoned. After a period of restoration, the temple was reopened to the public in 1972, now recognised as a significant architectural heritage site that bears witness to the enduring legacy of Chinese-Australian history.
The National Aquatics Centre in China, popularly known as the ‘Water Cube’, stands as a remarkable example of Sino-Australian architectural collaboration. Originally designed as the main venue for aquatic events during the 2008 Beijing Olympics, the Water Cube captivated global audiences with its innovative design and left a lasting impression. In 2022, the structure was repurposed into an ice rink for curling during the Winter Olympics and aptly renamed the ‘Ice Cube’, once again serving as a key venue for international sporting events and demonstrating the versatility and enduring significance of this architectural landmark.
The history of diplomatic relations between Australia and China is reflected in the architectural collaborations that have shaped their respective embassies and consulates. During World War II, Australia established a legation in Chongqing, China, in 1941, marking its third overseas diplomatic mission after the embassies in Washington and Tokyo, which were founded a year earlier in 1940. The Chinese Embassy in Canberra, completed in 1990, is a striking example of this collaboration, incorporating numerous elements of traditional Chinese architecture into its design. In 1992, coinciding with the 20th anniversary of the establishment of diplomatic relations between Australia and China, the Australian Embassy in Beijing was officially opened. Designed by the renowned Australian architectural firm Denton Corker Marshall, the embassy reflects a thoughtful fusion of cultures by adopting the layout of a traditional Chinese siheyuan and integrating characteristics of Beijing’s hutongs. Australia’s Ambassador to China, Graham Fletcher, commended the embassy for its careful architectural considerations, particularly its seamless integration of Australian and Chinese cultural elements. Similarly, the Chinese Consulate in Melbourne, constructed between 2000 and 2002, was designed by the distinguished Chinese-Australian architect Greg Gong, who also worked at Denton Corker Marshall. These and many other projects underscore the rich tradition of Sino-Australian architectural collaboration.
The 2020-2021 online architectural exhibition titled ‘Living in the City’ exemplified the growing collaboration between Australia and China in the field of architecture and urbanism. Supported by The University of Queensland and The University of New South Wales, the exhibition served as a platform to promote exchanges and cooperation between the two nations, showcasing numerous works that highlighted the interplay of Australian and Chinese architectural ideas. Endorsed by the Australian Ambassador to China, the exhibition underscored the importance of such cultural and academic collaborations.
Several leading Australian universities have integrated the essence and concepts of Chinese architecture and urbanism into their research and educational programmes. For example, The University of Melbourne has undertaken extensive research on ancient Chinese architecture and modern design, contributing to a deeper understanding of China's rich architectural heritage. The University of New South Wales boasts a robust research background in Chinese vernacular architecture and gardens, delving into traditional living environments. Meanwhile, The University of Sydney has made significant contributions to the study of Chinese urban morphology, enhancing the analysis of city structures and their historical evolution. Additionally, emerging institutions such as Victoria University have engaged in research on Chinese architectural and urban history, heritage, and modern design, exploring their relevance to contemporary design practices. These initiatives underscore the rich and ongoing dialogue between Australia and China in the field of architecture, fostering mutual understanding and driving innovation.
Architecture profoundly shapes our daily lives and work, influencing culture, aesthetics, and social organisation. Its unspoken significance reflects humanity’s understanding of life and our collective aspirations for a better future. Moreover, architecture is a field in which everyone can participate, whether through the spaces we inhabit or the designs we create. As we look ahead, we can anticipate many more remarkable stories of architectural and cultural exchange, enriching our shared experiences and fostering deeper connections across the globe.
