Jørn Utzon’s use of daylight in architecture

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Inaugurated in 1972 after a building period of 16 years, the Sydney Opera is one of the world’s most original and spectacular buildings. The Opera is also a landmark for Sydney and an icon for the whole twentieth century.

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Through studies of the most impor-tant projects created by Jørn Utzon, Professor Richard Weston and archi-tect Martin Schwartz analyse how one of the most original architects conceives of architecture as a func-tion of daylight.

Like many true innovators, Jørn Utzon is an observer with unusual acuity. His works are frequently founded in in-sights that initially appear quite small, but turn out to be so profound that they drive his architecture to a level of mas-tery with what seems like inevitable force. Many of these insights arise from observations taken from nature, but unlike the flowing, biomorphic shapes of much so-called “organic” architec-ture, the resulting forms do not resem-ble nature in any obvious way. Instead the projects derive from principles dis-covered in trees and leaves, fish,� sand, snow, sky, and of course, light. Through-out his career, Utzon has sought to make buildings that have the kind of balance and order found in biology and physics as much as in architectural clas-sicism. He has translated natural phe-nomena, light in particular, as well as principles from the natural world, into ideas about structure, enclosure, repe-tition, order and disorder, change and stability; and he linked them in his mind and works in order to establish his own basis for the composition of ar-chitectural form and space. “Large thoughts,” as nicholson Baker has writ-

ten, “depend more heavily on small thoughts than you might think.”� Baker might well have had Jørn Utzon in mind when he wrote this.

Several of the most interesting ex-amples of this process can be found in Utzon’s use of light and in his increas-ing reliance on light, throughout his ca-reer, to help generate space and form. His use of light centers on three obser-vations that, although small in them-selves, have great power as generative principles: firstly, the understanding that reflected or diffused light is usually preferable to a direct view of a light source; secondly, sensitivity to the sun’s daily and annual paths through the sky with reference to particular places; and thirdly, the realization that light-receiv-ing devices could be made into inhabit-able spaces.

Light and form: Sydney Opera Houseone cannot help but notice that by ro-tating the early PH lamps 90 degrees, so that the central axis through the lamp is horizontal, the profile resem-bles the silhouette of the nested shells of the Sydney opera House (�9�7-7�). However, the translation of a formal idea into architecture is not so simple. As it is difficult to meet normal acoustic and theatrical demands of the theater or music hall with openings to the out-side world, the opera house offered limited opportunities (the lobbies) for

interiors to be illuminated by daylight. nevertheless, Utzon paid extraordinary attention to the roof shells and their potential to capture and hold light on their surfaces. The weather in Sydney is by no means as consistently sunny as the city’s tourist promotions would have us believe, and the Harbor itself – as Eero Saarinen (the most distin-guished member of the original com-petition jury) pointed out to Utzon – could be surprisingly dark at times. In re-sponse, Utzon decided to cover the shells with ceramic tiles, developing a combination of glazed (highly reflec-tive) and unglazed (matte finish) tiles

J ø r n U t z o n ’ s u s e o f d a y l i g h t i n a r c h i t e c t u r e

Inhabi t ing L ight

BY rICHArD WESTon

AnD MArTIn SCHWArTz

For Jørn Utzon, light has been the enduring thread that binds his interest in nature to his interest in architecture and to his world view. Throughout his career, his passion for the natural world has led him to seek more from daylight than adequate illumination or sensual delight. Natural processes were models for numerous as-pects of his work and they have inspired him to take that which is essential to daylight, because it is essential to human existence, and use it to generate architecture.

Jørn Utzon. Photo: Ole Haupt©

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Sketches: Jørn Utzon

The Opera is placed on a projected piece of land in Sydney Bay. The building looks like an al-most hovering, moving formation of gigantic, white shells of various sizes, lifted above a ter-raced bastion, towering on the background of the sky, the sea and the horizon.

Sketches of plateaus and hovering forms, real and abstract clouds and a Chinese roof, associ-ated by Utzon with the Sydney Opera.

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Utzon decided to cover the Opera with ceramic tiles in a com-bined pattern of glazed and unglazed tiles, intended to produce a shimmer rather than a mirror effect. In his description of the sur-face Utzon used a natural analogy to the glow of snow-covered mountain landscapes and the contrast between soft, newly fallen snow and the glisten of frozen snow.

All the shells of the Sydney Opera are different sections of the same, large sphere. They are formed by a gigantic, ribbed con-crete structure, mounted in symmetrical pairs on their terraced base.

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inspired, in part, by his admiration for the tiled domes and minarets of tradi-tional Islamic cities. The character of light he sought for the shell surfaces was a shimmer that is not quite specu-lar� – or as Utzon described it, a “sur-face which…would show the texture through the glaze”4 – and characteristi-cally he offered natural analogies, in the light-reflecting qualities of snow that give rise to the phenomenon of Alpengluhen (the coloured glow of snow-covered mountain landscapes), and in the contrast between soft, new-ly fallen snow and the glisten and ir-regular surface of its frozen form.

The resulting surfaces are among the most expressive in modern architec-ture. As passing clouds, the sun or you the viewer move by, the shells various-ly glow, gleam or flash with light. Stand closer and the tiles scintillate, as if stud-ded with stars. Closer still, and tiny con-stellations appear and disappear below the bubbly surface of each tile. Walking down the narrow ’street’ between the performance halls one moves between soft blue shade and glistening ice. In the shadows mysterious pools of glow-ing light are reflected from the neigh-boring hall. And as the sun sets, the light lingers, caressing and coloring the tiles: cream and ochre, then salmon pink and the palest of violets, until the voluptuous geometry is reduced to a ghostly silhouette. The seams between tile-surfaced concrete “lids”, the joints between tiles, and the subtle variation between matte and glazed tile surfaces

also lend proportion and scale to the roof shells, making the construction process explicit. These several qualities lend meaning to the overall form of the roof shells, tying the architecture to its place in the world. The play of light on the surface of the Sydney opera House is evidence of the tension between sta-bility and change that characterizes Utzon’s architecture and all of nature. The building, with all of its shells curved in correspondence with the same di-ameter, the finite number of tile lid siz-es, the constant �-inch-square tiles and resulting grid of joints, is quite obvious-ly stable. But the ever-changing play of daylight on the varied shell sizes, the two tile finishes and lid arrangements, and the curves themselves, create an illusion in which the architecture ap-pears to change and even move in re-sponse to its environment.

Here we find the emergence of Utzon’s second insight in regard to daylight. He understood the geometri-cal relationship between the sun and a particular place on the earth and saw its architectural significance. Utzon was clearly aware of the changing but pre-dictable path of the sun as it appears to travel through the sky, daily and annu-ally. He knew how the sun’s path varies by latitude and the effects of local cli-mate. With his preference for diffused light, he realized that to provide the most comfortable light to a space and to animate a structure visually, it would be sufficient to configure and locate an immobile structure correctly in the pre-

dictable but ever-changing path of the sun. After the tribulations of Sydney, Utzon must have realized that instead of a producing a complicated object, he could plan simple buildings and let the sun and sky do the hard work of gener-ating a feeling of mutability.

Inhabited caves: Silkeborg Museum of Fine Arts and Jeita TheatreWith the Sydney opera House, Jørn Utzon established himself as one of the great form-givers of twentieth century architecture. So it is noteworthy that he never again saw the need to make ex-traordinary form, and certainly not for its own sake. In his subsequent projects, form was devised to capture light, and directed toward the creation of the character of interior space. Form be-came a function of performance. By building underground, he quite literally suppressed extraordinary external forms in the first of two projects for the unbuilt Silkeborg Museum of Fine Arts (�96�-�964). Designed to house the works of the leading Danish artist Asger Jorn, Utzon proposed a building that resembled an artificial cave sys-tem, with a pair of bottle-shaped gal-leries accessed by a roller-coaster net-work of ramps, all of which are contained in a three-storey-tall underground cham-ber in which paintings were intended to be hung free in space.

Utzon intended that the large chamber be bathed in light reflected off the northern sky from a completely glazed

In 1970 Jørn Utzon was commissioned to design a theatre in a large, underground cave at Jeita in Lebanon. The cave is almost completely devoid of natural light, and so Utzon decided to use artificial light as the primary means of creating space. The audi-torium should be surrounded by a skeletal steel structure, lit with flickering yellow, orange and red lights, suggesting fire in the depth of the cave. Unfortunately, the project was never realized.

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Sketch: Jørn Utzon

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roof, and the galleries project above ground with glazed openings. The re-sult would have provided even, glare-free illumination for the display of art-works and for circulation in the museum – some sun would have entered the museum, but only during very early and late hours during the long nordic summer days. Every wall surface would have been bathed in reflected light, so that the composition is likely to have been one of illuminated spaces within illuminated spaces, in a progression of gradually dimmer rooms. This proces-

sion from bright exterior to dim inner-most chamber would have eased the adaptation of our eyes to lower light levels as visitors entered galleries de-signed to exhibit the most delicate art-works, while also reflecting Asger Jorn’s wish that the encounter with his sculptures should be as much tactile as visual.

Six years after projecting the cave-like system of spaces at Silkeborg, Ut-zon was presented with the challenge of creating a theatre in an actual cave

at Jeita grotto, north of Beirut, Leba-non. The cave, a celebrated tourist at-traction, was intimidatingly vast and almost completely devoid of natural light, and so Utzon determined to use artificial light as the primary means of creating space. To enclose the seating and support the stagelighting rigs, he proposed a skeletal steel structure. As visitors entered the cave, the steel structure was to be lit with flickering yellow, orange and red lights, suggest-ing the welcoming warmth of a fire burning deep in the cave. Before and

Utzon submitted two proposals for the Silkeborg Museum of Fine Arts – which was never built – designed to house the works of the Danish artist As-ger Jorn. One of the proposals was a building that resembled artificial caves with a pair of bottle-shaped galleries. They were accessed by a roller-coast-er network of ramps, all of which contained in a three-sto-rey tall underground gallery.

Silkeborg Museum, north facade

Silkeborg Museum, section

Silkeborg Museum, section

Silkeborg Museum, plan

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during the performance, visitors would be aware only of the skeletal enclosure and the stage, but then, following a moment of total darkness, the ‘house lights’ – powerful floodlights directed at the natural vault above – were to be turned on to reveal for the first time the vastness of the cave. Unfortunately the project was never realised.

Light and space: Bagsværd ChurchBagsværd Church (�96�-76) north of Co-penhagen fully orchestrates the inter-play of all three of Utzon’s daylighting themes. (Firstly, the understanding that reflected or diffused light is usually pref-erable to a direct view of a light source; secondly, sensitivity to the sun’s daily and annual paths through the sky with reference to particular places; and third-ly, the realization that light-receiving devices could be made into inhabitable spaces.) The church was conceived from its inception as a spatial response to daylight and the path of the sun in this part of the world. The approach is so flu-ent that it is fair to say that the church is organized in light; however, confronted by the opaque, virtually windowless enclosing walls, the first-time visitor may be confounded by this claim. But upon entering, even after many visits, one is astonished by the interior spaces suffused with illumination.

The sun travels low in the Scandinavi-an sky, often grazing the horizon and frequently presenting the problem of glare.� Utzon realized that the geometry of that sun-earth relationship contained a solution to the problem. As invigorat-ing as sunlight sometimes can be, the best reading, working, and living light should be light reflected from the por-tion of the sky without the sun. In Scan-dinavia, this is the top of the sky. Bag-sværd Church’s almost distinct zones of direct and reflected light result from Utzon’s orientation of building openings primarily in one direction – in this case, upward. The light in Bagsværd Church is either skylight (containing little or no direct sun) from the top of the sky, or direct sun reflected from building sur-faces before it reaches our eyes.

This idea, the separation of sky and sun, generated floor plans and sections with distinct qualities. The plans are or-thogonal, constituted by squares6 of varying sizes, and with an armature of corridors, entirely skylit, that structure movement, receive direct light and de-lineate residual space for rooms and courtyards. The plan depicts a clear structural grid capable of supporting ambitious sectional qualities. And it is in section, the vertical dimension, that a building is enabled to gather light. Here, the ceilings are generated by cir-

cles7 of varying diameters or, at the corridors, completely glazed. The corri-dors receive skylight and sun on tall, matte white walls, high enough to re-flect and re-reflect light. The corridors are saturated with illumination and, as a result, noticeably brighter than the streetscape of darker houses and veg-etation, just outside the building. “The light in the corridors,” Jørn Utzon wrote, “provides almost the same feel as the light experienced in the mountains dur-ing a sunny day in winter, making these elongated spaces happy places in which to walk�.” Like the corridors, the court-yards also take light, receiving it on their ground and wall surfaces, where it is reflected through screens of wood and glass and into offices and meeting rooms. Almost every room in the church is situated between, and brightened by, two light sources: corridor and courtyard.

The sanctuary of Bagsværd Church is one of the most extraordinary ecclesi-astical spaces in twentieth-century ar-chitecture, and is a technical as well as a psychological achievement. The sanc-tuary uses the nordic sky as the source of light and also as a working model for the illumination of the room. The forms of the vault are not only inspired by clouds, but also work much like clouds as a sheltering canopy and a reflector

The plan of Bagsværd Church is a clear structural grid, consist-ing of squares of various sizes connected by corridors receiv-ing only daylight. In section, the ceilings are a combination of circles of varying diameter.

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Bagsværd Church is design-ed as a combination of in-situ cast concrete and con-crete components. The fa-cades are faced with light concrete elements and ce-ramic tiles of the same col-our.

The church is situated in an institutional area, but surrounded on all sides by green lawns. The limited area of the site dictated the narrow volume of the build-ing.

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of light. Utzon is said to have realized the potential of this strategy while ob-serving cloud formations on the beach in Hawaii,9 but the idea was latent in his earlier work. The idea of the roof as a cloud-like form floating above a plat-form was posited in sketches associat-ed with Sydney opera House and ex-

plored in Utzon’s most important published article, “Platforms and Pla-teaus: Ideas of a Danish Architect,”�0 while the almost calligraphic, “wander-ing” line quality of Bagsværd’s ceiling can be traced back to an early theoreti-cal design for a printing factory made in Morocco in �947. The ceiling – which

is, in fact, also the primary roof struc-ture – is a curved complex of sprayed reinforced concrete vaults. The vaults are thin, � to �0 centimeters spanning �7 meters (almost �6 feet). Everchang-ing daylight and the fluid forms of the vault transform concrete into a nearly weightless hovering canopy designed

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to diffuse light and distribute sound in the space.

The clerestory windows high on the west side of the sanctuary vault allow skylight and warm afternoon and evening sun to break through and play on the vault. The vaults are painted

white so as to take a small amount of northern skylight (a very small amount in winter months), and occasional direct sun, and distribute it generously throughout the room. The only shadow on the vaults is the fine tracery of the wood formwork, which reveals the true nature of the material. There is no shad-

ow to suggest that there is a boundary between the real sky and the cloud vault of the worship space. The light is reflected and re-reflected so that it is further softened, until the brightness of the vault is gradually reduced to a dark-er underside where, like a cloud, it shades itself. Daylight enters the sanc-

In Bagsværd Church there is one of the most unusual architectural naves in 20th century architecture. The sanctuary uses the Nordic sky as the source of light. The vaults – a rein-forced concrete structure – are not only inspired by clouds, but also work like clouds as a sheltering canopy and a reflector of light.

Utzon conceived the concept of Bag-sværd Church in two sketches, show-ing the transformation of a group of people on a beach into a congrega-tion in a church, framed by an ab-stract landscape of trunk-like col-umns and cloud vaults.

Photo: Bent Ryberg/Edition Bløndal©

Sketches: Jørn Utzon

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tuary from spaces on its four edges. It is filtered through a double layer of glazed screens on the west entry side, pours down through the skylighted cor-ridor and balcony system north and south, and sneaks in from the sacristy behind the altar. The vaults appear to levitate, like clouds or puffs of smoke, with no means of support, and certain-ly not as if made from a heavy materi-al. The sanctuary is effectively a court-yard, where parishioners worship in the landscape just as Utzon depicted in his evocative early sketches.

Light in courtyardsUtzon’s architecture is grounded in his empathy with sun, sky, light, and in-habitation, and he always begins a project with the creation of open space, a room in daylight. Bagsværd Church, with its open courtyards and sanctuary, created from daylight, is just one of several essays on outside rooms. In fact, his career could be explored through his use of this venerable archi-tectural element.�� Utzon knew the tra-ditional Danish farm courtyard arrange-ment and became familiar with its Chinese and Islamic versions from his travels and books. Almost every one of Utzon’s built works originates with a

courtyard, from the earlier private houses such as the Villa Banck with its two courts (Helsingborg, Sweden; �9��) to the Paustian Furniture Showroom (Copenhagen, �9�7). Even Sydney’s platform is such a space: the opera House is not just an isolated sculpture, but also a successful public plaza. Ut-zon’s mature works illustrate his suc-cess in bringing the character of the courtyard, enclosed yet day-lit, to other spaces.

At the same time that Utzon was making open spaces on a civic, even geographical scale at Sydney, he was exploring the courtyard on residential and community scales, suggesting its use for a variety of living and work-ing activities, and to guarantee each house’s access to daylight. For the Skåne housing competition, with Ib Møgelvang in �9��, Utzon developed a house type consisting of a masonry-walled precinct of �0 metres on each side with two adjacent walls made available to support an L-shaped, shed-roofed dwelling. In this proposal, a courtyard remained open to light and views and for private outdoor living. Two versions of this house type were built as the Kingo Houses (also called

the “roman Houses;” begun �9�7), and Fredensborg Houses (completed �96�). In these influential and articulate schemes, the private outside spaces – the courtyards – are oriented southwest or southeast for midday and (a choice of) afternoon or morning sun. The units are attached, sited with reference to the slope of the land, and offset from each other in plan for advantageous views, to enhance privacy, and to indi-vidualize each unit. The resulting hous-ing developments offer open space and light at two scales: private and public, with the former dedicated to the family and the latter defined by the aggregat-ed community of walled courtyards. Ut-zon’s Espansiva residential building sys-tem of the late �960s is similarly depicted as a community of communi-ties. A site plan diagram shows nine houses, each comprised of varying lay-outs of five modules, with each house forming a courtyard. The collection of houses makes a larger open space. At each scale, Utzon oriented spaces around light, and light toward people.

Utzon enlarged his understanding of light when he translated his nordic perceptions to a Mediterranean setting. At Can Lis (�970-�97�), the first of two

Both the Kingo Houses (left) and the Fredensborg Houses (right) are situ-ated according to the slope of the land and offset from each other in plan for advantageous views and to enhance privacy. Both developments offer open space and light at two scales: private and public.

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Photo: David Messent

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In 1954, together with Ib Møgel-vang, Jørn Utzon developed a house type for a housing competition in Skåne (in the south of Sweden), consisting of a masonry-walled pre-cinct forming an L-shaped, shed-roofed dwelling. The project was not realized, but marked the begin-ning of Utzon’s work with walled courtyard dwellings.

The Fredensborg Houses were built in 1963 for returning expatriate Danes, primarily elderly people without small children. The houses clear-ly divide traffic areas and the landscape.

The house type from the proposal for the Skåne competition was used in the Kingo Houses in Elsinore from 1957. Today – about 50 years after they were finished – these dwellings are still among the finest in Danish house design.

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In 1972 Jørn Utzon created his own sanctuary on Mal-lorca. On bedrock, turned to-wards the African coast, he had a house built – Can Lis – on the background of the lo-cal stone architecture.

Behind the shielding wall of the house there are five offset pavilions, connected by courts and walls, oriented at various angles to the broad view.

A small, narrow, glazed opening in the south-east corner of the living room marks the passing of the day. Once a day, for a very short time, the sun sends its rays through the opening.

The fantastic views from the living rooms are enhanced by the fact that the windows are installed so that from within the frames are out of sight.

When the doors of the house are open towards the road, the small patio, the colon-nade and the living room form an entire room open-ing dramatically towards the horizon.

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Photo: Jørn Utzon

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homes he built on the Spanish island of Mallorca, Utzon revisited the three themes we have explored with a neat twist essential to the way the house fits in its site and climate. Located in a distinctly different solar environment, Utzon’s light-receiving strategy at Can Lis is actually the same as at Bagsværd, but inverted. To minimize glare, reflect-ed daylight is gathered from the part of the sky farthest from the path of the sun. In the Mediterranean, the loca-tions of sun and diffused skylight are reversed from those of Scandinavia: skylight is available from near the hori-zon, and direct sun from the top of the sky, because the sun path is so much higher throughout the year.�� The mani-festation of these observations is clear-ly observed in the most important room in the house, the living room.

The Can Lis complex of five pavilions is associated with six courtyards in var-ying configurations, seven if you count the living room. Like Bagsværd’s sanc-tuary, this living room has a reciprocal relationship with the sky and site, in which the room is both part of the house but incomplete without the sky and, at Can Lis, the view. And again, Utzon designed the room to receive and reflect indirect light. There are no openings in the roof plane to admit hot sunlight. Instead of reaching upward for light, the living room projects epi-sodically toward the sea with five glazed window bays, each about the size of a person and aimed at a differ-ent angle around the horizon.

The bays resemble the window seats that we used to find in the thick-walled buildings of previous centuries. But at Can Lis, the bays are fully open to a view of the sea and they have no seats – the floor continues into the bays. They are like side chapels in a church, small rooms linked to a great room, but with the exterior walls blown out to reveal the horizon resulting in a dual alle-giance. In form, they resemble the deep-set, canted openings in Le Cor-busier’s chapel at ronchamp, but are more inviting because they can be lived in. The bay surfaces catch skylight from the horizon and diffuse sunlight. Their sandstone surfaces absorb radiation and lend their warm yellow-pink colour to the sunlight. The character of the

stone emerges: its texture and the cir-cular marks of the saw are revealed in shadows and highlights. All year round, the bays reach out to the horizon for skylight and to control sunlight, while at the same time framing stunning views of the Mediterranean. Each of the bays is fully glazed without inter-mediate divisions, and the wooden window frames are applied to the out-side face of the building in the manner of Swedish architect Sigurd Lewerentz.�� With the frames out of sight, not even a sliver of shadow obstructs the inward rush of light. There is no impediment to the competing attractions of the sea and sky. As the openings appear to be unframed and unglazed, it looks as though you could walk right out into the horizon.

Sunlight is introduced conditionally to the living room. When the sun is low in the sky, early in the day and during the cooler winter season, it penetrates deeper into the room. But as the alti-tude of the sun increases, the depth of its reach is restricted to the bays where it is held and diffused. The one excep-tion to this rule is the single, small, glazed opening high on the southwest wall that invites a blade of light to swing across the southeast wall in the late afternoon to animate the space and mark the passing of the day. The introduction of sun high in a tall room and softened light entering below re-calls the Hall of the Abencerrajes and its relationship to the Court of Lions at the Alhambra. Like the Hall, the living area at Can Lis has a ceiling capable of diffusing light down into the room: a series of shallow, vaulted, white-paint-ed ceiling tiles in place of the Alham-bra’s polychromed muquarnas. And again like the Hall, sun and skylight are reflected from the floor of an adjacent courtyard (north of the living room) and are admitted through a colonnade that creates a layer of cooling shade. By means of this courtyard, skylight is gathered from the northern sky, which, at this latitude, is the quadrant of the sky with the least direct sun.

In its sectional development, Can Lis recalls many built and unbuilt projects by Utzon. At the zurich Theatre (an un-built competition-winning project of �96�), Bagsværd, and Sydney, to cite

three examples, the primary public room rises above a fabric of smaller supporting facilities, and furnishings appear to be sculpted from the ground. As in those public projects, the living room at Can Lis is a kind of theatre. It is oriented on a diagonal with the north-south axis, its arc of built-in seating aimed south. The orientation of this pa-vilion maximizes the exposure of the living room pavilion to the arc of the sun throughout the day and across the seasons, while the bays control the re-ception of daylight. Both Can Lis and Bagsværd have vaulted ceilings; had Sydney been completed to Utzon’s vi-sion, the opera House would also have had ceilings generated by circles and in sympathy with acoustic principles. In the Can Lis living room as at Bagsværd, light is the performer, and it is reason-able to conjecture that for the architect, this is the kind of theatre that he al-ways wanted to make.

Structuring light: Kuwait National AssemblyThe Kuwait national Assembly building (�970-�9��) is a direct response to the aridity of the region and the need to control sunlight that brings extreme heat. Here again, Utzon found the solu-tion embedded in the problem: the stronger the sun is, the deeper is its shadow. “The dangerously strong sun-shine in Kuwait,” Utzon wrote, makes it necessary to protect yourself in the shade – the shade is vital for your exist-ence…”�4 It might be said that the loca-tion of the sun in the sky prompted the design of shade, rather than the design of light. The institutional occupancy and the public scale of the building task gave Utzon the opportunity to identify architectural modules that were both spatial and structural. At the same time, each of the three module types, for cir-culation, offices, and large gatherings, works to control light in a slightly differ-ent way and each draws from the archi-tectural traditions of the host culture.

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The central hall of the National Assembly Building, which Utzon called the central street, is spanned by a series of precast concrete vaults. The curved elements of the structure allude to the folded fabric of tents and the full-length tunics worn by many who work in the building.

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Utzon was inspired by Isfahan’s Islamic urban pattern when he designed the Assembly Building.

Plan of the Assembly Building. The function of the building as an institution and the public magnitude of the project gave Utzon an opportuni-ty to focus on both spatial and structural architectur-al forms.

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A concourse, the primary corridor, which Utzon has referred to as a cen-tral street, is a two-storey-high space, spanned by a series of precast concrete vaults that overhang the clerestory glazing by half the width of the con-course. This configuration requires sun-light to bounce at least twice, once from the roof surface and again from the underside of the vaults, before it enters the space. running through the building from its entry on the southeast to its shaded square on the northwest, the illumination in the concourse is a greatly softened version of the harsh exterior climate. The light also models the surfaces of the allée of cylindrical, precast, supporting elements. This pro-duces an effect of grace and subtlety that plays against the rigour of the con-struction system. The curved elements allude without mimicry to the folded fabric of tents and even to the tradi-tional full-length white tunics worn by many who work in the building. Utzon also called our attention to the fact that the concourse is an orientation device.�� The size, scale, and linearity of the space contribute to this, but so does the shifting light. Even as daylight changes

over the course of the day and as the light is diffused by the architecture, it reminds us of the outside world, time of day, and direction. With this strategy, the recognition of the path of the sun and the quality of its light, Utzon counters the disorienting tendencies of a large building with similar spaces and symmetries. The courtyards and roof monitors support this approach, the use of daylight to engage architecture and place, establishing spatial charac-ter while helping us to orient ourselves in the world.

The concourse bisects the orthogo-nal grid of office modules and provides access to the two large gathering spac-es, the legislative assembly hall and a covered outdoor space, both roofed by sweeping vaults of precast concrete, again recalling the tent architecture as-sociated with Bedouin life in this re-gion. The outdoor space is open on three sides, one of them facing the wa-ters of the Arabian gulf. Utzon called the space a “great open hall” and a “big open square … symbolic of the protec-tion a ruler extends to his people.” It is an optimistic gesture toward making a

public piazza, its freedom within con-straints symbolized and enabled by its access to daylight. Utzon envisioned the space as one “where the people can meet their ruler” somewhat in the manner of western democratic society.�6 The shadow that the canopy casts on the ground is a function of the intensity of the sun, and it is as much this pool of darkness as the architecture that de-fines the space. This space recalls Jun’ichiro Tanizaki’s observation in ref-erence to his native Japanese architec-ture, that “in making for ourselves a place to live, we first spread a parasol to throw a shadow on the earth...”�7

The work spaces, actually office court-yard modules, have received scant crit-ical attention. Perhaps they have been devalued as they are simply places to work and not as important as the hon-orific spaces. Perhaps the difficulty is that little good documentation has been available. As Utzon’s work ma-tured, however, it was compounded by his frequent rethinking of the court-yard, and in Kuwait the office courtyard elements become the very fabric of this significant public structure. We can

Projects from Jørn Utzon’s hand are derived from principles found in natural phenomena such as snow, sky and light.

Phot

o: R

icha

rd W

esto

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make some reasonable conjectures about this compelling composition and the further ideas it suggests based on Utzon’s previous courtyard schemes and on the available Kuwait plan draw-ings, conceptual sketches, and models. In the early floor plans, the office court-yard modules are units that allow for groups of work spaces to be flexibly ar-ranged around two-storey-high court-yards of various rectangular configura-tions. The offices borrow light captured

by the courts. Precast concrete blades, a variation on the wood grilles that fill wall openings in Islamic architecture, span the courtyards at the roof. These louvers break solar radiation, shade the courts, cast changing shadow patterns, and permit air to move through.�� The office modules were originally intend-ed to aggregate beyond the initial boundary of the building as needed for future expansion. That is, there is a vo-cabulary of parts and a syntax for their

combination such that new spaces will always have a means for receiving day-light. Since the modules are square, as Utzon’s building and planning elements so often are, the building is quite easy to expand, at least conceptually, in two directions. The result is a chequerboard of solids and voids, occupied offices and spaces for the reception of light. The fabric of the national Assembly is an institutional version of the courtyard houses, the possibility of which was

Photo: Hans Munk Hansen

��

hinted at by the ordered plan of Bag sværd Church.

The courtyard appears in many cul-tures and climates, but it assumes a critical role in the architecture of hot climates because of its effectiveness in taming heat, creating shade, moderat-ing sunlight, and transforming arid landscapes into habitable settlements. It comes as no surprise that in Islamic culture, the ordered courtyard garden is

closely associated with the image of paradise�9 and that improvisations on these themes recur in Islamic architec-ture. A view of Isfahan from �7�� de-picts a city composed of the same three spatial/daylighting modules that we find at the national Assembly: a long, broad street called the Chahar Bagh ( not covered, but enhanced by trees for shade and a thin waterway down the center�0), an urban fabric knit from an orthogonal alternation of courts

(lighted spaces) and houses (shaded enclosures), and even a roofed loggia, the Ali Kapu (a talar or columned porch), deployed as a reception pavilion facing an open public square, much like Ut-zon’s covered square.��

Utzon understood the National Assembly and its additive potential as a version of the Islamic bazaar��, an ur-ban pattern with spatial complexities, capable of growth, and enlivened by

Sketchers: Jørn Utzon

A section of the original competitive proposal, containing a mosque and a conference hall. The conference hall was left out of the realised project.

A sketch of the covered square which, as Utzon formulated it, was born in the meeting of shore and sea.

The National Assembly Building from 1970 is formed as a direct response to the aridity of the region and the need to subdue the sunlight that brings extreme heat.

A sketch of the central covered street opening onto the Arabian Gulf.

��

surprising incursions of light alternating with shade and shadow. In this spirit, light also activates the circulation spaces between office courtyard mod-ules. roof mounted light monitors catch light from the relatively benign north-east quadrant of the sky and are locat-ed to bring skylight and reflected sun-light into the corridor stairwells and into the basement. This is again evi-dence of Utzon’s awareness of the path of the sun. The sun only threatens to breach the monitors and break into the interiors during the summer season, and then only early in the day when its energy is most easily diffused and the heat of day is lowest. At those times, the sun is in the northeast sky but so low as to be intercepted by the hood of the monitor and reflected down into the corridors. Here, as at Can Lis, the building’s diagonal orientation to the north-south / east-west axes offers ad-vantages. Sunlight is not entirely elimi-nated. It may enter the corridors brief-ly, but these spaces are meant for movement and the occasional conver-sation. A brief sliver of sun may be en-joyed or easily avoided.

ConclusionsFor Jørn Utzon, light has been the en-during thread tying his interest in na-ture to architecture and to his world view. This is not to say that there are no other influences on his work – there are

many. But it is to say that light was never simply a forecast of future lux levels or merely a means of decoration. Utzon’s ideas have not been founded in intricate calculations, nor have they been constrained by his technical flu-ency, and his passion for the natural world has led him to seek more from daylight than adequate illumination or sensual delight. natural processes were models for numerous aspects of his work and they have inspired him to take that which is essential to daylight, because it is essential to human exist-ence, and use it to generate architec-ture. Conceiving daylight as a function of architecture, he addressed the con-stituent features of daily life: how we find our way in the world, how we dif-ferentiate our public lives from our pri-vate selves, how we organize ourselves in a landscape, how we distinguish in-side from outside, and the ways in which we support a roof above our heads. Because he imagined whole buildings as intrinsic light-gathering and construction systems, daylighting or shading tasks were assigned to near-ly every inhabitable space and surface. no light-receiving or intercepting ele-ment is simply a mechanism attached to the architecture; each one is a space and meant to be inhabited.

Utzon could not possibly have plan-ned the arc of his career, but a com-pelling pattern emerges from an over-view of his work as if it were an essay, a proposition about the individual, the community, and lighted space. The square Kingo and Fredensborg court-yard houses adjust themselves vertical-ly and horizontally on their sites to dif-ferentiate themselves one from another and such that the residence of each family is lent individuality. At Bagsværd Church the courtyards realign them-selves into a linear sequence to corre-spond with the hierarchy of organized religion. Finally, the fabric of the Ku-wait national Assembly is a reordering of the square courts into a civic grid, which acts both as a symbol of equality under the law and suggests the poten-tial for future growth.

Utzon’s work with light might be de-scribed as metonymical, meaning that light is a stand-in, a representative for people at the moment of composition

and, so to speak, the building’s first in-habitant. This approach has allowed Utzon to make decisions about how we might live in buildings by imagining how light would enter, be distributed, and perform on and inside architecture. Where there is light, there are people.

Notes1. Richard Weston, Utzon; Inspiration Vision Architecture (Hellerup: Edition Bløndal, 2002) p. 22-23.2. Nicholson Baker, “The Size of Thoughts,” in The Size of Thoughts, Essays and other Lumber, (New York: Random House, 1996) p. 14.3. Weston, pp. 152-153.4. Jørn Utzon, “Sydney Opera House: The Roof Tiles” in Architecture in Australia, December 1965; reprinted in Weston, p. 149.5. In Copenhagen, the sun reaches just over 57.5 degrees above the horizon at noon on midsummer day, June 21: this is the highest point that the sun reaches all year long. If on that day the sky is clear, the sun may be seen in more than 260 degrees of the 360-degree horizon. Early and late in the day, it is low and well within an individual’s cone of vision. On December 21, midwinter day, the sun barely reaches 11 degrees at noon.6. Francoise Fromonot, Jørn Utzon, The Sydney Opera House (Milan/Corte Madera, CA: Electa/Gingko, 1998) page 210.7. Fromonot, p. 210.8. Jørn Utzon, “Bagsværd Kirke,” unknown source, pp. 23-25.9. Francoise Fromonot, “Un riccordo della Hawaii,” Casabella, October 1997, (649), pp. 24-37.10. Jørn Utzon, “Platforms and Plateaus: Ideas of a Danish Architect,” Zodiac, no. 10, 1962, pp. 112-140.11. Martin Schwartz, “Light Organizing, Jørn Utzon’s Bagsværd Church,” Jørn Utzon Logbook, Volume II, Bagsværd Church, Edition Bløndal, 2005).12. At Can Lis, the sun reaches an altitude of about 74 degrees (almost 20 degrees higher than Copenhagen) on June 21. On December 21, the sun rises to almost 24 degrees (more than twice that of Copenhagen) at noon.13. At Lewerentz’s St. Peter’s Church in Klippan (1962-1966), the architect fixed lights of insulating glass to the exterior faces of the masonry walls with metal clips and filled the gaps with sealant.14. Jørn Utzon, “The Importance of Architects,” in Denys Lasdun Architecture in an Age of Skepticism, (London and New York: Oxford University Press, 1984) p. 222.15. Ibid.16. Ibid.17. Jun’ichiro Tanizaki, In Praise of Shadows (New Haven, CT: Leete’s Island Books, 1977) page 17.18. Weston, p. 331.

Utzon’s simple diagram of Can Lis catches the essence of this unique house on the east coast of Mallorca.

��

Richard Weston is Professor of Architecture at Cardiff University, BA (�st Hons.), BArch, MLA (Penn), rIBA, editor of the refereed journal Architectural research Quarterly, and director of richard Weston Studio Ltd. His recent books include ”Plans, Sections and Elevations, Key Buildings of the Twentieth Century; Materials, Form and Architecture”; and ”Utzon Inspiration Vision Architec-ture”, Edition Bløndal �00�, the only monograph written with full access to Jørn Utzon and his archive. Co-editor of Jørn Utzon Log-book Vol I-VI, �004. His monograph from �99� on Alvar Aaalto won the Sir Banister Fletcher Prize, while Modernism received the International Book Award of the American Institute of Archtects.

Martin Schwartz is an architect, teacher, and writer. He contrib-uted an essay, »Light organizing Architecture: Jørn Utzon’s Bags-vaerd Church,« to the recently published book, Jørn Utzon Log-book, Volume II, Bagsvaerd Church, (Edition Bløndal, �00�). In �994 he was the Frederick Charles Baker Distinguished Professor in Lighting at the Department of Architecture, University of ore-gon. Most recently he has taught at the University of Michigan, Lawrence Technological University, and the Cranbrook Academy of Art.

The deep window bays in the Can Lis living room form a stone frame of the sea with great beauty.

19. John D. Hoag, Islamic Architecture (New York: Harry N. Abrams, Inc., 1977) p. 9.20. Charles W. Moore, William J. Mitchell, William Turnbull, Jr., The Poetics of Gardens (Cambridge, MA: The MIT Press, 1988) pp. 148-149.21. John D. Hoag, Islamic Architecture (New York: Harry N. Abrams, Inc., 1977) p. 346.22. Utzon, Architecture in an Age of Skepticism, p. 222.

The illustrations in the article “Inhabiting Light, Jørn Utzon’s use of light in architec-ture”, have been used by courtesy of Edi-tion Bløndal and come from the book: ”Utzon Inspiration Vision Architecture”.

Photo: Bent Ryberg

LEARNING OBJECTIVES 1. After reading this article, the learner

shouldbeableto:a.Discusstheuseofdaylightinthedesign

ofbuildings.b. Describehownaturecanbeanessential

toolinthecreativeprocess.c. DiscussJørnUtzon’sarchitecturalcareer

intermsofrecurringthemes.

INSTRUCTIONS• Readthearticle“InhabitingLight–Jørn

Utzon’suseoflightinarchitecture”usingthelearningobjectivesprovided

• Completethequestionsbelow,thenfillinyouranswers(backcover).

• FilloutandsubmittheAIA/CESeducationreportingform(backcover).

QUESTIONS1.JørnUtzon’sarchitecturalinsights

frequentlyhavebeeninspiredbyhisobservationsofnaturalphenomena.Thesourcesforhisinsightsincludewhichofthefollowingitems?

a.Sandandsnowb.Skyandlightc. Treesandleavesd. Alloftheabove2. JørnUtzonreliedonthreeobservations

tohelpgeneratespaceandformwithdaylight.Identifytheoneitembelowthatisnotoneoftheseprinciples.

a. Theadvantagesofreflectedanddiffuseddaylight

b. Thesun’sdailyandannualpathsthroughthesky

c. Makinginhabitablespacesintoreceiversofdaylight

d. Directsun3.Thefinishesoftheceramictilesthat

makeuptheexteriorsurfacesoftheSydneyOperaHouseshellsareoftwotypes,anunglazedmattefinishandaglazedreflectivefinish.

a.Trueb. False4. TwoofUtzon’sprojectsspecifically

evokethespatialandlightingcharacterofwhatgeologicalformations?

a. Cavesb. Lakesc. Mountainsd.Deserts5.Innorthernlatitudes,suchasScandina-

via,thesuntravelsrelativelylowintheskymakingthetopoftheskyagoodsourceofdiffusedlight.

a. Trueb. False6.ThesanctuaryvaultatBagsværdChurch

adoptswhatfeatureoftheskytohelpdevelopaworkingmodelofNordicskyillumination?

a.Rainbowb. Thesunc. Blueskyd.Clouds

7. UtzontranslatedhisScandinaviandaylightingstrategy(lowsun,diffusedlightfromthetopofthesky)toSpainwithnochangesofanykind.

a.Trueb.False8. TheKuwaitNationalAssembly

presentedacriticaldaylightingchallengetoJørnUtzon,requiringthedesignof:

a. Glareb. Shadec. Reflectiond. Brisessoleils9.JørnUtzon’scareercouldbeanalysedin

termsofwhatrecurringarchitecturalanddaylight-gatheringdevice?

a. Courtyardb. LightMonitorc. Skylightd. Baywindow10. JørnUtzon’sbuildingsareconceivedas

intrinsiclight-gatheringandconstruc-tionsystems.

a. Trueb. False

ForNYTCEUcommentsorquestions,pleasecontactusatnyt@louispoulsen.com

A I A C E S / N Y TC O N T I N U I N G E D U C A T I O N

Richard WestonisProfessorofArchitectureatCardiffUniversity,BA(1stHons.),BArch,MLA (Penn),RIBA,editorof the refereed journalArchitecturalResearch

Quarterly, anddirector of RichardWeston Studio Ltd. His recent books include

”Plans,SectionsandElevations,KeyBuildingsoftheTwentiethCentury;Materials,

FormandArchitecture”;and”UtzonInspirationVisionArchitecture”,EditionBløn-

dal2002,theonlymonographwrittenwithfullaccesstoJørnUtzonandhisar-

chive.Co-editorofJørnUtzonLogbookVolI-VI,2004.Hismonographfrom1995

onAlvarAaaltowontheSirBanisterFletcherPrize,whileModernismreceivedthe

InternationalBookAwardoftheAmericanInstituteofArchtects.

Martin Schwartz isanarchitect, teacher,andwriter.Hecontributedanessay,»LightOrganizingArchitecture: JørnUtzon’sBagsvaerdChurch,« to therecently

publishedbook,JørnUtzonLogbook,VolumeII,BagsvaerdChurch,(EditionBløn-

dal,2005).In1994hewastheFrederickCharlesBakerDistinguishedProfessorin

LightingattheDepartmentofArchitecture,UniversityofOregon.Mostrecentlyhe

hastaughtattheUniversityofMichigan,LawrenceTechnologicalUniversity,and

theCranbrookAcademyofArt.

19. John D. Hoag, Islamic Architecture (New York: Harry N. Abrams, Inc., 1977) p. 9.20. Charles W. Moore, William J. Mitchell, William Turnbull, Jr., The Poetics of Gardens (Cambridge, MA: The MIT Press, 1988) pp. 148-149.21. John D. Hoag, Islamic Architecture (New York: Harry N. Abrams, Inc., 1977) p. 346.22. Utzon, Architecture in an Age of Skepticism, p. 222.

The illustrations in the article “Inhabiting Light, Jørn Utzon’s use of light in architec-ture”, have been used by courtesy of Edi-tion Bløndal and come from the book: ”Utzon Inspiration Vision Architecture”.

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Editor-in-chief: Peter ThorsenEditor: Ida PræstegaardLayout: Mette Andreasen

English translation: Translation Centre, University of Copenhagen

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