Jørn Oberg Utzon, AC (9 April 1918 – 29 November 2008) was a Danish architect most notable for designing the Sydney Opera House in Australia. When the Sydney Opera House was declared a World Heritage Site on 28 June 2007, he became only the second person to have his work recognised as a World Heritage Site while he was still alive.
Utzon was born in Copenhagen, the son of a naval engineer, and grew up in Denmark. From 1937 he attended the Royal Danish Academy of Fine Arts where he studied under Kay Fisker and Steen Eiler Rasmussen. After graduating in 1942, he went to Sweden to work for Gunnar Asplund. 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. From 1947–48 he travelled in Europe in 1949 in the United Statesand Mexico. In America he attended Taliesin West,Frank Lloyd Wright’s school in Arizona. In 1950 he established his own studio in Copenhagen.
In 1957 he unexpectedly won the competition to design the Sydney Opera House. Although he had won six other architectural competitions previously, the Opera House was his first non-domestic project. The designs he submitted were also little more than preliminary drawings. One of the judges, Eero Saarinen, described it as “genius” and declared he could not endorse any other choice.
Utzon refined his original conceptual designs for the shells over several years. One particular difficulty was that the Cahill government was so eager to commence the project that they arranged for the engineers, Ove Arup and Partners, to put out tenders for the podium without adequate working drawings; this work actually began in 1959 while Utzon was still in Denmark working on the final plans.
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. 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 state Liberal government of Robert Askin was elected. Askin had been a ‘vocal critic of the project prior to gaining office.’ 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”
For me the sidney opera house is a building that has impressed me for years. And because this is one of his most successful pieces of work it shines though his skills and talents
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