The Master's Chamber
The artist, designer, philosopher and architect in Jørn Utzon are all represented in the Utzon Room.
Utzon Room (2015) by Sam DoustSydney Opera House
The Utzon Room is the first interior space fully realised to Jørn Utzon's specifications. The room celebrates the form of the Concourse beams that define the ceiling, and its eastern wall is glass, overlooking the harbour.
The western wall is dominated by a tapestry designed by Utzon, inspired by the music of Bach and Raphael's painting, The Procession to Calvary.
These elements of the Utzon Room characterise three ideas which, though fundamental to Utzon's architectural vision for Sydney Opera House, had been compromised in realising the finished building.
Utzon Room, detail of the Concourse beams (2012) by Sam DoustSydney Opera House
First, honesty of form and the beautiful expression of function were integral to Utzon's approach. He strove constantly to manifest these values in his own work as well as that of others.
Engineer Ove Arup's Concourse beams, which so impressed Utzon early in their working relationship, typify this central principle, and are the dominant feature of the Utzon Room.
Eastern glass wall, the Utzon Room (2016) by Sam DoustSydney Opera House
Second, the pivotal role of the Sydney Harbour was also a fundamental principle for Utzon. When he first learned of the competition, he pored over nautical maps to assess and visualise the exceptional location of Bennelong Point, its centrality to the harbour area, and its suitability for a beautiful sculptural expression.
Just like Kronborg Castle in Helsingør, Denmark, immediately next to shipyards where Utzon’s father was director, Sydney Opera House would come to define its environment.
Utzon Room, looking northwest toward the Utzon tapestry (2012) by Sam DoustSydney Opera House
Finally, the idea of procession, which Utzon believed should be central to the experience of the Sydney Opera House, with a grand staircase leading up through the podium toward the performances.
It is this idea that is dominant in the abstract mural as inspired by Raphael's painting, The Procession to Calvary, in which Christ carries the cross on his way to Golgotha.
Given the history of the project, there lingers a certain degree of irony in Utzon's choice of subject matter for the mural.
Utzon tapestry, 'Homage to C.P.E Bach' (2004) by Sam DoustSydney Opera House
The Procession to Calvary by Raphael (1504/1505) by RaphaelSydney Opera House
Utzon tapestry, detail (2016) by Sam DoustSydney Opera House
The Procession to Calvary by Raphael (1504/1505) by RaphaelSydney Opera House
Utzon tapestry, detail (2016) by Sam DoustSydney Opera House
The Utzon Music Series has been running since 1998, and has grown into one of Sydney's premier chamber music programs.
Utzon Music Series program, detail (2014) by Garbett DesignSydney Opera House
Utzon Music Series poster, detail (2014) by Garbett DesignSydney Opera House
Utzon Room looking south toward the Concourse beams (2012) by Sam DoustSydney Opera House
The distinctive Concourse beams, designed by engineer Ove Arup, provide a beautiful and dramatic sweeping form to the underside of the Monumental Steps, which continue up through the levels of entrance, including the Utzon Room, finishing just under the beginning of the vaulted arches of the two halls.
The powerful, elegant form that emerges from Arup's design thrilled Utzon, who called them “Ove's invention” in recognition of their contribution to the finished character of the House, and the spirit of collaboration that exemplified the early years of the building project.
Despite the pair’s later estrangement, the Concourse beams represent a lasting reminder of the close relationship between two great men and form a crucial trait of the Utzon Room.
Utzon Room, detail of the Concourse beams (2012) by Sam DoustSydney Opera House
Created by Sam Doust and the
Sydney Opera House GCI Team
