Abstract
In Space, Time, and Architecture, Sigfried Giedion identified Jørn Utzon as one of the proponents and leaders of what Giedion regarded as the Third Generation of modern architecture in the 20th century. This article considers how Utzon subsequently further exemplified in later works the principles Giedion had identified as essential to that Third Generation and discusses, as Giedion did not explicitly, the significance of light in Utzon’s architecture, which plays a key role in underpinning and articulating these defining principles. This article addresses how the principles Giedion attributed to Utzon and his defining consideration of light, derived from his interpretations of his many transcultural sources of inspiration, notably including from, China, Iran, Japan, Hawaii, Mexico, and Morocco, as well as from his own Nordic realm and Europe, as can be seen in the Sydney Opera House, Can Lis in Mallorca, Melli Bank in Tehran, Kuwait National Assembly, and Bagsværd Church in Denmark, among others.
Highlights
KAebyswtraocrdt s PInaSupl ace, Time, and Architecture, Sigfried Giedion identified Jørn Utzon as one of the proponents and leaders of what Giedion regarded as the Third Generation of modern architecture in the 20th century
This article addresses how the principles Giedion attributed to Utzon and his defining consideration of light, derived from his interpretations of his many transcultural sources Pofailnasbpriarastiocnla,vneotably including from, China, Iran, Japan, Hawaii, Mexico, and Morocco, as well as from his own Nordic realm and Europe, Pasauclan be seen in the Sydney Opera House, Can Lis in Mallorca, Melli Bank in Tehran, Kuwait National Assembly, and Bagsværd Church in Denmark, among others
Prior to being catapulted to international recognition, with his wining of the Sydney Opera House competition, Utzon was already gaining a reputation in his native Denmark on the basis of his many notable, but unrealised competition entries and the realisation of the Kingo Houses (1956-59) and the Fredensborg Houses (195963) courtyard housing north of Copenhagen
Summary
This article addresses how the principles Giedion attributed to Utzon and his defining consideration of light, derived from his interpretations of his many transcultural sources Pofailnasbpriarastiocnla,vneotably including from, China, Iran, Japan, Hawaii, Mexico, and Morocco, as well as from his own Nordic realm and Europe, Pasauclan be seen in the Sydney Opera House, Can Lis in Mallorca, Melli Bank in Tehran, Kuwait National Assembly, and Bagsværd Church in Denmark, among others. Se estudian así las particularidades que Giedion atribuyó a Utzon y su consideración definitoria de la luz, derivadas de la interpretación de sus numerosas fuentes transculturales de inspiración, en particular, de China, Irán, Japón, Hawai, México y Marruecos, así como de Europa y su propio ámbito nórdico, como se puede ver en la Ópera de Sídney, Can Lis en Mallorca, Melli Bank en Teherán, la Asamblea Nacional de Kuwait, y la Iglesia Bagsværd en Dinamarca, entre otros
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