IELTS Reading / Practice Test 5

IELTS Reading Practice Test 5: Free, with Answers

This free IELTS Reading Practice Test 5 has 3 passages and 40 questions. Answer a question and you see at once if it is right, and why.

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IELTS Reading Practice Test 5 · Passage 1

The Sydney Opera House

How an unfinished sketch became a national symbol

Few modern buildings are as instantly recognisable as the Sydney Opera House, whose white roofs rise above the harbour like the sails of a ship. Since 2007 it has been included on UNESCO's World Heritage List, an honour that is usually reserved for buildings that are several centuries old. Yet the story of how it came to be built is far from a simple tale of success. The project took sixteen years to complete, cost many times more than had been planned, and ended with the departure of the architect who had designed it.

The idea of a major performance venue for the city was first promoted in the late 1940s by Eugene Goossens, the conductor of the Sydney Symphony Orchestra, who complained that Sydney had nowhere suitable for opera or for large concerts. In 1955 the government of New South Wales announced an international design competition, which attracted 233 entries from 32 countries. The winner, announced in January 1957, was a 38-year-old Danish architect, Jørn Utzon, who was almost unknown outside his own country. His entry was remarkable not only for its daring shape but also for its lack of detail: it consisted of little more than a series of sketches, and it gave no indication of how the curved roofs might actually be built.

The site chosen for the building was Bennelong Point, a narrow piece of land that projects into the harbour close to the city centre. Until the late 1950s it had been occupied by a tram depot, which was demolished to make way for the new building. Goossens himself is often credited with recommending the location, which offered views of the water from almost every direction.

Work began in 1959, far earlier than many experts thought sensible. The state premier, Joseph Cahill, was anxious that the project should be too far advanced to be cancelled by a future government, so construction of the base, or podium, started while Utzon was still developing his ideas for the roof. This decision proved costly. When the design of the roof was finally settled, it turned out to be far heavier than originally expected, and the columns of the podium were found to be too weak to support it. Many of them had to be strengthened or rebuilt.

The roof itself presented an even greater challenge. Utzon's sketches showed a set of free-flowing curved shells, but nobody knew how to calculate or build such shapes. The engineering firm Ove Arup and Partners spent several years testing different geometries, without success. The breakthrough came around 1961, when Utzon realised that if every shell were cut from the surface of the same imaginary sphere, all of them could share the same curve. This meant that the roof could be assembled from standard concrete sections, cast on site and lifted into place by cranes, rather than from thousands of unique pieces. The shells were then covered with just over a million tiles, made by a company in Sweden in two finishes, glossy white and matt cream.

As the difficulties grew, so did the cost. The building had originally been expected to cost seven million Australian dollars, but the final bill came to 102 million. Remarkably, most of this money was raised not from taxes but through a special state lottery, which ran for many years and sold millions of tickets.

Political changes eventually brought the crisis to a head. In 1965 a new state government came to power, and the minister responsible for public works, Davis Hughes, began to question both the spending and Utzon's plans for the interiors. When the government stopped paying Utzon's fees, he resigned, in February 1966, and left Australia. He never returned. The interiors were completed by a team of Australian architects led by Peter Hall, who made significant changes to Utzon's design. Most notably, the larger of the two main halls, which Utzon had intended for opera, was turned into a concert hall, and opera was moved to the smaller theatre.

The Opera House was officially opened by Queen Elizabeth II on 20 October 1973, in a ceremony that was broadcast around the world. Utzon was not invited, and his name was not mentioned in the speeches. In time, however, attitudes changed. In 1999 the Opera House asked him to set out principles to guide any future changes to the building, and a room redesigned according to his plans was named the Utzon Room in his honour. He died in 2008, the year after the building was given World Heritage status, without ever having seen it completed.

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