Red Book model in Sydney Town Hall (1958) by State Records of New South WalesSydney Opera House
In 1957, Jørn Utzon's design for the Sydney Opera House was recognised for its individuality and its futuristic form. But the foundations of this design are built of Utzon's studies of history and nature.
Gunnar Asplund (1885/1940)Sydney Opera House
He spoke highly of architect Gunnar Asplund, saying he imbued, "each of his buildings with a unique personality, one that expressly emanates the purpose of the building, completely covering and expressing the function, the lifestyle, the way of life lived in the building."
Jørn Utzon drawing at the Hellebæk office, Denmark (1959) by Yuzo MikamiSydney Opera House
Utzon famously found inspiration in monumental Mayan and Aztec architecture. The concrete podium of the Opera House was based on temples he had seen in Mexico, and he later described his travels to Central America as, "One of the greatest architectural experiences in my life."
Pagoda roof sketch (1962) by Jørn UtzonSydney Opera House
He also drew on classical Chinese architecture, particularly its use of repeated forms. Here, a sketch of a disembodied pagoda roof takes on an uncanny resemblance to the Sydney Opera House's 'shell' roof.
Abstract roof sketch (1962) by Jørn UtzonSydney Opera House
Here, the curves of a thoroughly modern floating form respect the silhouette of pagoda architecture while resembling falling leaves.
Jørn Utzon describes his design for the glass walls in time lapse (1965) by Jozef Vissel, National Portrait Gallery, CanberraSydney Opera House
In his 1948 essay 'The Innermost Being of Architecture', Utzon wrote, "Something of the naturalness found in the growth principle in nature ought to be a fundamental idea in works of architecture."
Back Cover (1962) by Jørn UtzonSydney Opera House
Utzon later described his approach as 'additive architecture'. In a 1970 manifesto he used the examples of deer at the edge of a forest and pebbles on a beach. "If it grows naturally," he once said, "the architecture will look after itself."
Page 28, Models of shells (1958) by Jørn UtzonSydney Opera House
The iconic curved, white roof of the Sydney Opera House has been compared to the billowing sails of ships and the geometric spirals of seashells. These nautical designs fit well with the building's location in Sydney Harbour.
Minor Hall, auditorium, 1:60 scale prototype wooden model (1959) by Jørn UtzonSydney Opera House
Many of the practical features of the Opera House eschewed functionalism and took their shape from abstract forms. This wooden model here represents the seating area of the Minor Hall.
Model of Major Hall ceiling form in the motif of breaking waves, detail (1964/1965) by Max DupainSydney Opera House
The elaborate structures and often unique forms of Utzon's design led to many serious issues. With so many complex bespoke parts, construction of the Sydney Opera House was painfully slow and expensive.
Arrival of the early paraboloid scheme at the office in Hellebæk, Denmark (1958) by Arne MagnussenSydney Opera House
While Utzon believed that organically-inspired architecture would 'look after itself', many of the engineers tasked with actually building the structure might have disagreed.
Utzon Room, looking northwest toward the Utzon tapestry (2012) by Sam DoustSydney Opera House
In 2000, Utzon laid out a new set of design principles to guide any future development of the building. His letter re-emphasises the 'natural evolution' of the building, and of maintaining its 'character'…
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"The ideas as they were developed in the sixties, evolved as the result of the needs and technique at the time… As time passes and needs change, it is natural to modify the building to suit the needs and techniques of the day."
