Jrn Utzon

Jrn Oberg Utzon, (Danish pronunciation: [jn udsn]), AC (9 April 1918 29 November 2008)[1] was a Danish architect, most notable for designing the Sydney Opera House in Australia. When it was declared a World Heritage Site on 28 June 2007, Utzon became only the second person to have received such recognition for one of his works during his lifetime.[2] Other noteworthy works include Bagsvrd Church near Copenhagen and the National Assembly Building in Kuwait. He also made important contributions to housing design, especially with his Kingo Houses near Helsingr. Utzon was born in Copenhagen, the son of a naval engineer, and grew up in Aalborg, Denmark, where he became interested in ships and a possible naval career. As a result of his family's interest in art, from 1937 he attended the Royal Danish Academy of Fine Arts where he studied under Kay Fisker and Steen Eiler Rasmussen. Following his graduation in 1942, he joined Gunnar Asplund in Stockholm where he worked together with Arne Jacobsen and Poul Henningsen.[3] He took a particular interest in the works of American architect Frank Lloyd Wright.[4] After the end of World War II and the German Occupation of Denmark, he returned to Copenhagen. In 1946 he visited Alvar Aalto in Helsinki. In 194748 he travelled in Europe, in 1948 he went to Morocco where he was taken by the tall clay buildings. In 1949, he travelled to the United States and Mexico, where the pyramids provided further inspiration. Fascinated by the way the Mayans built towards the sky to get closer to God, he commented that his time in Mexico was "One of the greatest architectural experiences in my life."[5] In America, he visited Lloyd Wright's home, Taliesin West, in the Arizona desert[6] and met Charles and Ray Eames.[5] In 1950 he established his own studio in Copenhagen[7] and, in 1952, built an open-plan house for himself, the first of its kind in Denmark. In 1957, he travelled first to China (where he was particularly interested in the Chinese desire for harmony), Japan (where he learnt much about the interaction between interiors and exteriors) and India, before arriving in Australia in 1957 where he stayed until 1966.[4] All this contributed to Utzon's understanding of factors which contribute to successful architectural design.[8] Architectural approach Utzon had a Nordic sense of concern for nature which, in his design, emphasized the synthesis of form, material and function for social values. His fascination with the architectural legacies of the ancient Mayas, the Islamic world, China and Japan enhanced his vision.[9] This developed into what

Utzon later referred to as Additive Architecture, comparing his approach to the growth patterns of nature.[10] A design can grow like a tree, he explained: "If it grows naturally, the architecture will look after itself."[8] The Sydney Opera House The Sydney Opera House In 1957, Utzon unexpectedly won the competition to design the Sydney Opera House. His submission was one of 233 designs from 32 countries, many of them from the most famous architects of the day.[5] Although he had won six other architectural competitions previously, the Opera House was his first non-domestic project. One of the judges, Eero Saarinen, described it as "genius" and declared he could not endorse any other choice. [6]

The designs Utzon submitted were little more than preliminary drawings. Concerned that delays would lead to lack of public support, the Cahill government of New South Wales nonetheless gave the go-ahead for work to begin in 1958. The Anglo-Danish engineers Ove Arup and Partners put out tenders without adequate working drawings and construction work began on 2 March 1959. As a result, the podium columns were not strong enough to support the roof and had to be rebuilt. The situation was complicated by Cahill's death in October 1959.[8][11] The extraordinary structure of the shells themselves represented a puzzle for the engineers. This was not resolved until 1961, when Utzon himself finally came up with the solution. He replaced the original elliptical shells with a design based on complex sections of a sphere. Utzon says his design was inspired by the simple act of peeling an orange: the 14 shells of the building, if combined, would form a perfect sphere.[5] Although Utzon had spectacular, innovative plans for the interior of these halls, he was unable to realize this part of his design. In mid-1965, the New South Wales Liberal government of Robert Askin was elected. Askin had been a 'vocal critic of the project prior to gaining office.'[12] His new Minister for Public Works, Davis Hughes, was even less sympathetic. Elizabeth Farrelly, Australian architecture critic has

written that at an election night dinner party in Mosman, Hughes's daughter Sue Burgoyne boasted that her father would soon sack Utzon. Hughes had no interest in art, architecture or aesthetics. A fraud, as well as a philistine, he had been exposed before Parliament and dumped as Country Party leader for 19 years of falsely claiming a university degree. The Opera House gave Hughes a second chance. For him, as for Utzon, it was all about control; about the triumph of homegrown mediocrity over foreign genius.[12] Utzon soon found himself in conflict with the new Minister. Attempting to rein in the escalating cost of the project, Hughes began questioning Utzon's capability, his designs, schedules and cost estimates, refusing to pay running costs. In 1966, after a final request from Utzon that plywood manufacturer Ralph Symonds should be one of the suppliers for the roof structure was refused, he resigned from the job, closed his Sydney office and vowed never to return to Australia.[8] When Utzon left, the shells were almost complete, and costs amounted to only $22.9 million. Following major changes to the original plans for the interiors, costs finally rose to $103 million.[5] In an article in Harvard Design Magazine in 2005,[13] Oxford University professor Bent Flyvbjerg argues that Utzon fell victim to a politically lowballed construction budget, which eventually resulted in a cost overrun of 1,400 per cent. The overrun and the scandal it created kept Utzon from building more masterpieces. The Opera House was finally completed, and opened in 1973 by Elizabeth II, Queen of Australia. The architect was not invited to the ceremony, nor was his name even mentioned during any of the speeches.[14] He was, however, to be recognized later when he was asked to design updates to the interior of the opera house. The Utzon Room, overlooking Sydney Harbor, was officially dedicated in October 2004. In a statement at the time Utzon wrote: "The fact that I'm mentioned in such a marvellous way, it gives me the greatest pleasure and satisfaction. I don't think you can give me more joy as the architect. It supersedes any medal of any kind that I could get and have got." Furthermore, Frank Gehry, one of the Pritzker Prize judges, commented: "Utzon made a building well ahead of its time, far ahead of available technology, and he persevered through extraordinarily malicious publicity and negative criticism to build a building that changed the image of an entire country."[15] Works in Denmark

Bagsvrd Church near Copenhagen (1968-76)

While some of Utzon's most notable works are spread around the globe, he completed a number of projects in his native Denmark. Bagsvrd Church, just north of Copenhagen, is considered to be a masterpiece of contemporary church architecture, thanks to its bright, naturally illuminated interior and its ceiling straddled with softly-rounded vaulting.[16] Designed in 1968, the church was completed in 1976.[17] The Kingo Houses in Helsingr (1958) consist of 63 L-shaped homes based on the design of traditional Danish farmhouses with central courtyards.[18] Built in rows following the undulations of the site, each of the houses not only has a view of its own but enjoys the best possible conditions for sunlight and shelter from the wind. Utzon described the arrangement as "flowers on the branch of a cherry tree, each turning towards the sun."[19] A few years later, he went on to design the Fredensborg Houses (1963) for Danish pensioners who had worked for long periods abroad. Located on a site in natural surroundings and inspired by housing in Beijing's Forbidden City, the complex consists of 47 courtyard homes and 30 terraced houses as well as a central building with a restaurant, meeting rooms and nine guest rooms. The homes are located around a square in groups of three, all with entrances from the square.[19][20] His Paustian Furniture Store (1988) on Copenhagen's waterfront stands on a multitude of columns inspired by a beech forest.[21] A temple-like finish is achieved by 11 columns with fan-shaped capitals overlooking the harbour. Similar columns are also present inside the spacious interior, stetching up to the skylight dominating the roof.[22] In 2005, in close collaboration with his son Kim Utzon, he helped to plan the Utzon Center in Aalborg (completed 2008) designed to inspire young students of architecture. Located on the waterfront, its high sculptured roofs rise over an auditorium, a boathall and a library while the lower roofs of its exhibition rooms and workshops surround a central courtyard, sheltered from the wind. [23]