The Utzon Paradigm

THE UTZON PARADIGM

An anonymous approach to architecture.

Marc Llad贸 Hillis 漏 2016

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Abstract

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Abstract: Darwin’s theory of evolution relies on one fundamental principle: the ability to adapt to ones’ environment.

Species unable to do so are surpassed by those which are (Darwin, 1859). Having come so far from our evolutionary roots, we must ask ourselves: are we still adapting to our environment? Moreover, is our architecture? This body of work will focus on the importance of ‘Anonymous Architecture’: an approach to architecture that is not weighed down by the shackles of fashion, style or indeed identity — but rather an architecture that works with our environment, landscape and our nature of life. Human nature, by merit of its own description, requires a link between humanity and nature. It is universally agreed that elements such as natural daylight, good airflow and a warm environment are essential for our species to feel comfortable (Plummer, 2012), however, there are far more complex needs that must be addressed to ensure a healthy, larger environment for mankind. Jørn Utzon was an architect who felt our cities were robbing us of what it means to be human.

“As an architect I believe that it is very important to fall in love with the nature of things instead of fighting for form and style.”

— Jørn Utzon Utzon had an ability to create spaces with a beautiful tectonic integration within the landscape. He designed structures that elevated their landscape to a phenomenological experience by working in harmony with nature. As a sailor, explorer and hunter, nature was profoundly important to Utzon (Matthiesen, et al. 2011). By exploring his influences and work through a collection of writings, and in particular, two site visits to his houses in Mallorca, this dissertation will aim to identify the founding principles that lead to one of the most responsive and anonymous architects of the twentieth century.

Declaration

AB420 Dissertation 2015/2016 BSc Honours Architectural Studies University of Strathclyde Department of Architecture Declaration “I hereby declare that this dissertation submission is my own work and has been composed by myself. It contains no unacknowledged text and has not been submitted in any previous context. All quotations have been distinguished by quotation marks and all sources of information, text, illustration, tables, images etc. have been specifically acknowledged.

I accept that if having signed this declaration my work should be found at examination to show evidence of academic dishonesty the work will fail and I will be liable to face the University Senate Discipline Committee.”

Signed:

Author: Marc Lladó Hillis Registration number: 201140064 Year: 2015 - 2016 Word count: 10,125

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Acknowledgements

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Acknowledgements: I would like to give a special thanks to all of those who have contributed to this body of work: Line Nørskov Eriksen and Rodger Tyrrell, for giving me an unexpected and thorough tour of Can Lis one summer when they were taking residence in the dwelling — sparking an interest in Utzon which later manifested into this dissertation.

My supervisor, Cristina Gonzalez-Longo for the continued support and advice which has strengthened my work.

Jac Lister, for continued support and advice.

Khalid Ali, Leo Short and Douglas Ritchie, for providing peer to peer support throughout the semesters.

Louise Hogg, Aileen Hillis and Steve William Hannah, for proofreading and giving useful feedback on my body of work.

Josefine Klougart, for allowing me to visit Can Lis to take photos during her residency. Family friend, Morag Bain, for introducing me to Lin Utzon.

Lin Utzon, for giving me a tour of Can Feliz along with an explanation and background of her father’s work.

Date Printed: 09 March 2016 Marc Lladó Hillis © 2016 All Rights Reserved Cover photograph [fig. 1] and inside sketch [fig. 2] by Marc Lladó Hillis

Figure 3 Bedrooms at Can Feliz

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Glossary

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Glossary [In the context of this dissertation]

Additive Architecture

- A term that Utzon uses to describe modular and adaptive architecture. “I happened to say something

that Jørn asked me to repeat. He then got up and with his 6B pencil wrote the words ADDITIVE

ARCHITECTURE on the wall, and said we had broken through the sound barrier.” (Prip-Buus 2009:8).

Oeuvre

- The body of work of an artist — or architect in the instance of this dissertation.

Paradigm

- A typical example or pattern of an architectural language / style.

Phenomenology

- The manipulation of space, material, and light and

shadow to create a memorable encounter through an impact on the human senses.

Tectonic

- The beauty of construction, both in relation to technical and artistic design.

Vernacular

- A category of architecture based on local needs, construction materials and reflecting local traditions.

Or the traditional architecture produced from local builders.

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Table of Contents

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Chapter 1

Abstract Declaration Acknowledgements Glossary Foreword

3 4 5 7 11

Introduction

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The Dawn of Utzon A Sailor’s Life for Me Wanderlust The Nature of Things

Chapter 2

A Dwelling on the Rocks The Beautiful Rock A House for Lis The Experience Upon Reflection

Chapter 3

Figure 4: Living quarters at Can Lis Photograph by Marc Lladó Hillis

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35 35 37 45

A Dwelling on the Canopy The Happy House The Experience

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Chapter 4

Bound by Sandstone

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Chapter 5

All Things Considered

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Conclusion

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Afterword Bibliography List of Figures Appendix A [Can Lis] Appendix B [Can Feliz] Appendix C [Transcripts]

63 65 71 77 79 81

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Foreword

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Foreword The First Encounter...

During the summer of 2015, I was visiting family in Mallorca.

My father, a local builder, had told me about a house he discovered that was designed by a world renowned architect close to his home in Cala d’Or, southeast of Mallorca. A brief search online revealed the architect as Jørn Utzon, hailed as one of the most innovative architects of the 20th century. I was intrigued; I had naively only known him for his work on the Sydney Opera House.

Whilst there were scheduled tours once per month, I was due to fly home before I could avail of the opportunity. So, in true Utzon style, we took it upon ourselves to explore the property which we expected to be vacant between tours. The first building was hidden behind a blind wall from the street.

We clambered over the rocky cliffs to reach the back of the dwelling (which many would consider as the front), where the building opens up to the Mediterranean Sea. It was far more intriguing from this angle. Immediately I saw why Utzon was so well acclaimed. The Pavilions stepped out from the forest trees, each looking at the sun and sea from a slightly different perspective, clustered around an open courtyard that stepped down towards the rocky cliff face, 20 meters or so above the Mediterranean. It looked like a profound way of living; a cavelike refuge on the edge of a beautiful, though treacherous, cliff edge.

Figure 5: Can Lis from the sea

Much to my surprise, a gentleman was sitting in what would later be my favourite spot of the dwelling, looking out towards Africa between two columns and shaded from the hot midday sun. His name was Rodger Tyrrell, he was accompanied

by Line Nørskov Eriksen, a Ph.D. candidate studying Utzon’s oeuvre at the time. They welcomed me in with open arms and gave me the most insightful tour I could have ever asked for. Both were brimming with knowledge regarding anything related to Utzon; it was a truly sensational experience. This newfound admiration for Jørn Utzon came just before my 4th year of architectural studies, it was perfect timing to base the grounds of my dissertation on this incredible experience.

Figure 6 (above) Can Lis

Figure 7 (bottom) Can Feliz

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Introduction

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“Sir Norman Foster climbs one of his skyscrapers and says: ‘this is a sign of vitality.’ But maybe that is not true. People don’t like high-rise blocks made of shiny metal. A little girl shouldn’t spend her life on the eleventh floor - that is far, far too removed from our roots.”

(Utzon, as cited in Møller, 2006)

Introduction Modern architecture finds itself a battleground of economical need versus user requirement, bringing certain movements into the crosshairs of critics across the world (The Guardian, 2015). The average city across the globe, with some (but not many) exceptions, does not engage with the outside world; the basics, such as natural light and warmth, are generally well accounted for. However, nature is lost in our concrete jungles (Rajesh, 2013). With the average person in the UK working for 44 hours a week, almost 10 hours more than in Denmark (Daily Mail, 2008), we must ask ourselves if a life on the tenth floor of a copy-and-paste office tower can be good for our mental stability? Perhaps it is time to dig out the old architecture books and re-learn the basics of the great modernist architects, in particular the sympathetic Scandinavian design of the architect, Jørn Utzon, the prodigy of the more critically acclaimed Alvar Aalto (Weston 2002). By researching Utzon’s influences and travels, this dissertation will attempt to define the key principles of his work and how his love for nature and sailing translated into phenomenological architecture married with a profound understanding of industrialisation.

Despite publications investigating Utzon’s unmistakeably sympathetic view of architecture that was motivated by a parallel understanding of nature and industrialisation — known as the ‘Utzon Paradigm’ — already existing, none focus on the importance of his anonymous approach to design which resulted in structures that were completely unique and responsive to their immediate landscape. Books and published papers form the bulk of research that has gone into this body of work, as well as site visits to the two dwellings in Mallorca, allowing for in-depth case studies to take place for the dissertation.

This thesis approaches the topic from a different thematic angle in each chapter. It attempts to piece together an ideology or thought process that Utzon may have consciously or subconsciously followed when considering the architecture of his designs; in order to create structures that seamlessly integrate with their landscape without an inherent style or aesthetic.

Figure 8: View from Can Feliz

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Introduction

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The first chapter follows Utzon through his early life in Aalborg, Denmark, where his father’s engineering and sailing background had a profound effect on him, developing his keen technical curiosity and ultimately steering him into the architecture profession. We look further into Utzon’s travels following the second world war; he visited many countries where he was heavily influenced by local vernaculars that were ultimately synthesised into many of his later projects. Utzon’s ability to create sensible Scandinavian architecture with a tectonic approach to industrialisation and unprecedented sympathy to landscape is then investigated through a selection of key projects.

Chapters two and three aim to critique the two dwellings in Mallorca where we will walk through the design in relation to materiality, nature and context in order to understand what makes them so successful in evoking such profound sensations and experiences.

In these chapters we begin to see how Utzon’s personal hobbies and philosophies ultimately made an impact in the designs of his private homes and indeed, all of his projects. Fundamentally, his devoted love for nature and industrialisation created a unique dialogue between architecture and landscape that was unprecedented in the architectural realm.

The final two chapters aim to summarise how successful architecture removes itself from any preconceived identity or style, but instead seeks to marry experience, nature and structure in a way which transcends the design into a new found level of excellence. The importance of the key question then emerges: can we learn from the way Utzon lived life and observed the world around him in order to better understand his anonymous approach to architecture?

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Chapter 1

Figure 9: Aalborg Shipyard

A sailor’s life for me

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The Dawn of Utzon A sailor’s life for me Jørn was born in 1918 into the Utzon family in Alborg, Denmark. With its rich seafaring Viking heritage, Denmark was at the heart of the shipbuilding industry during the 20th century. In turn, Utzon found himself frequently walking along the harbour of the Aalborg Shipyards on his way home from the private school, Klostermarksskolen, which he attended for five years as a child. The Aalborg harbour [fig. 11] served as an inspiration and a subconsciously educational environment for Jørn as he grew older. It is possible that the root of his keen technical eye can be traced back to his walks along the harbours of Aalborg where he observed the construction of ships, yachts and submarines (Matthiesen et al., 2011). This interest was furthered by his father, Aage Utzon, who was his first and arguably his greatest influence. Aage, a director of a shipyard and excellent naval architect, held many of the traits Jørn would later develop as an architect. In support of this idea, Carter and Tyrrell (2013) commented that, “This formative context together with his fathers’ international reputation as a yacht designer provided an early tectonic influence upon Utzon.”

Aage was renowned for his sharp-sterned yacht designs which were known as “spidsgattere” and often looked to the sea for inspiration. Carter suggests that Aage modelled and developed his designs from studying the marine life he observed when sailing with his family; looking to nature to better inform the matrix of his yachts designs.

This philosophy of adapting natural forms to better inform the engineering of boats, was something that became embedded in Utzon’s mind and resonated in Utzon’s philosophy which he called “Additive Architecture” (Prip-Buus, 2009:8), where he saw nature as an entity that never froze in design but rather adapted and changed through its lifespan.

In nature there is no one perfect solution of form or function so why should there be in Architecture?

Jørn and Aage both understood that everything should be adaptable and evolve just as nature does. Ultimately, his father taught him how to understand and learn from the world around him, which became a profound precedent and inspiration in all of his finest designs, as well as passing down his draughtsman skills as a naval architect. The family loved to sail and this passion was passed onto Utzon implicitly where he became an able yachtsman from a young age. Utzon was a keen member of the sea scouts. One can only speculate that the discipline of sailing, reading the weather, the waves, the sails themselves, may have translated into his architectural career where he demonstrated an

Figure 10 (left) Portrait of Jørn and Lin Utzon

Figure 11 (right) Utzon Centre, Aalborg harbour

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A sailor’s life for me

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outstanding eye for detail (Weston, 2002).

Although Utzon had a great love and interest for naval architecture, just like his father, he decided to set himself on a different path by enrolling into the Royal Academy of Fine Arts in Copenhagen to study architecture — a career path which was recommended by his father’s cousin, Ejnar Utzon-Frank, a sculptor and professor at the Royal Academy of Fine Arts. Utzon had originally applied to be a sculptor like his father’s cousin, however Ejnar had strongly advised that he apply for architecture which Utzon has been grateful for ever since: “Today I am glad that my uncle Enjar, who was the dean of the Royal Academy, rejected me as a sculptor.” (Utzon as cited in Matthiesen et al., 2011:13) His maths and writing grades were not to standard, which could be attributed to his dyslexia that was not well understood in those times. However, he expressed great skill in other aspects which make for a great architect. It was a career that seemed to fit Utzon best, an area in which he could express his tectonic approach to art, design, sculpture and landscape (Møller, 2006).

Looking back at the active and stimulating life Utzon lead from a young age, it becomes increasingly understandable how one of the greatest architects of the 20th century developed such a profound and unique phenomenological and tectonic approach to architecture. One can imagine Utzon as a young boy, mesmerised by his father’s teachings and long walks along the Aalborg shipyards, soaking in all that his experiences had to offer, developing his tectonic influences.

Figure 12 (top) Aalto’s studios, Finland

Figure 13 (bottom) Utzon’s home in the beech forests of hellebæk

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Wanderlust

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The Dawn of Utzon Wanderlust Utzon graduated architectural studies in 1942 and like many others of the time he found himself having to flee to neutral ground in Sweden. He worked in an architectural office in Stockholm for the remainder of the war until he travelled to Finland where he met his first major influence, Alvar Aalto (Carter, 2013). During Utzon’s studies, he regarded Aalto and Gunnar Asplund as “Nordic Masters” (Nordic masters, 2009). It was then no surprise that he moved to Finland at the first opportunity possible in 1945 immediately after the war to work with Aalto at his studios [fig. 12]. Aalto was one of the most influential Scandinavian modernists who further developed his architecture in a more organic direction. Following on from Aalto’s notion, Pallasmaa (2007:22) noted that Aalto saw his designs as “... synthetic landscapes instead of seeing them as aestheticised objects.”

It is apparent that Aalto was guided by this notion throughout his career, where his buildings can be viewed as man-made microcosms of nature that are stitched seamlessly into their immediate context (Pallasmaa, 2007), much like the later works of Jørn Utzon.

The relevance of Aalto in Uzon’s career, and indeed, personal life is well documented throughout literature on his work. It was noted in a set of The Opera House Project transcripts (2012) that, “in choosing to live in a beech forest and to reflect natural forms and functions in his work, he had been following Aalto’s advice.” [fig. 13].

Evidence of Aalto’s influence on Utzon was furthered in 1982 when Utzon was awarded the Alvar Aalto Medal for his unique ability to create sensible Nordic architecture with a sensitivity to context that enhances the landscape, preserving and inspiring the legacy of Alvar Aalto (Designers - Jørn Utzon, 2008).

Following his time at Aalto’s Studio in Finland, Utzon briefly returned to Denmark before touring Europe, where he met the likes of Corbusier and others, and then to Morocco where he first discovered Islamic classicism and traditional Islamic dwellings. The unique vernacular became one of the most influential movements of architecture for Utzon (Matthiesen, et al. 2011). This notion was reinforced when the third International Utzon Symposium was held in the Dar el Bacha palace, Marrakech, Morocco on April 1st 2012; the organisers of the event felt that the country had offered a strong and prevalent inspiration in Utzon’s work throughout his career and therefore, would become a perfect location for the third international symposium (Botin, Carter and Tyrrell, 2013:13). Utzon

Figure 14 (top) Villages of the Atlas Mountains

Figure 15 (bottom) The Platforms of Farnsworth House

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Wanderlust

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secured a travel scholarship which allowed him to explore Morocco in 1947. Instantly upon arrival, he became infatuated by the coherent architectural unity demonstrated by the desert villages of courtyard houses built entirely with local clay, integrating them seamlessly with the surrounding landscapes. Figure 14 illustrates the type of earthy dwellings found clinging to the Atlas Mountains that Utzon would have discovered when traveling through Morocco (Laylin, 2011). It could be suggested that the later built Kingo Houses, designed by Utzon in 1958, demonstrate a clear relation and influence to the earth based structures Utzon previously studied when travelling through the Atlas Mountains; both courtyard designs are cast across sloping sites and built with local materials which harmonise them with their immediate landscape, creating a sustainable and tectonic architectural expression (Møller, 2006).

Utzon, whose dyslexia had given him a greater appreciation for visiting buildings rather than to read literature based on them, acquired a second scholarship which took him to the United States and Mexico (Jørn Utzon, 2008). Carter (2007:241) goes on to enforce the importance of travelling for Utzon: “Utzon was well aware of the benefits of travel and no doubt as a consequence of his dyslexia, had a great desire to experience the world and its architecture first hand”.

It could be argued that Utzon’s dyslexia lead to him acquiring his profound outlook on life which notably fuelled his passion to travel. When Utzon eventually arrived in the United States, he found himself meeting with several architects such as Mies van der Rohe, who welcomed Utzon to visit the newly completed Farnsworth House — a unique, minimalist dwelling comprising of two raised platforms, lifting the users in line with the foliage of the surrounding forest. The Farnsworth House [fig.15] seamlessly integrates itself with the surrounding nature, reminiscent of Utzon’s own architectural ambitions (Carter, 2009). Some could argue that this visit, in particular, began Utzon’s keen interest in platform architecture and provided as a fitting prelude for his following adventures to Mexico where he discovered the prominent platforms of the great Mayan and Aztec temples (Møller, 2006).

Following his time in Illinois, Utzon found himself studying under Frank Lloyd Wright at his school of architecture in Arizona. He greatly admired Wright’s architecture; his sensitivity and focus to landscape, creating buildings with a profound sense of place and belonging was of great inspiration (Carter, 2006). Utzon met with several leading modernist architects across America, however it was his meeting with Charles Eames

Figure 16 (bottom) Ruins at Uxmal, Mexico

Figure 17 (right) Jørn Utzon sketch of a Platform in Uxmal, 1962

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that was of particular interest to him. The Eames house, which was fabricated entirely from mass-produced materials and components, whilst retaining a somewhat Japanese vernacular, greatly interested Jørn (Carter, 2013). Having spent his early life surrounded by shipyards and engineers, Utzon was inherently interested in modular and innovative design (Matthiesen et al., 2011).

In addition to admiring the great modernists, Utzon found traditional, anonymous architecture to be of equal inspiration, such as traditional Japanese, Mayan, Aztec and Islamic architecture. Tyrrell (2013:42) backs this statement by explaining that: “Utzon combines a profound fascination for the ancient legacies of the Mayan Civilisation, China, Japan and the Islamic World, a sense of architecture as art, an innovative approach to technology and a natural understanding of organic structures in relation to specific content and conditions. ”From the U.S, Utzon travelled south to Mexico where he visited several of the great Mayan and Aztec structures. As outlined by Carter, this left a profound and lasting impression upon him. Several elements across many of his designs can be traced back to the sketches and notes Utzon took whilst admiring the ruins at Chichen

Wanderlust

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Itzá, Monte Albán and possibly the most influential ruins at Uxmal. Utzon explained: “As an architectonic element, the platform is fascinating. I lost my heart to it on a trip to Mexico in 1949, where I found a rich variety of both size and idea, and where many platforms stand alone, surrounded by nothing but untouched nature. All the platforms in Mexico are placed very sensitively in the landscape, always the creations of a brilliant idea.”

(Utzon as citied by Frampton, 2003:1) When Jørn describes the nature of Mexican and Mayan architecture, it is clear that he is infatuated by two specific elements; the tectonic notion of platforms and the way in which the temples relate to the nature around them, how they are carefully situated to work with their surroundings and to follow on from Alvar Aalto’s ideology of architecture being a synthetic landscape (Roberts, 2013:71). This memory would carry Utzon throughout his career and synthesise into many of his later projects to create marvellous examples of phenomenological platforms that harmonise with their landscape. The dwelling of Can Lis is a perfect precedent of a building that touches the site with delicate precision — an extension to the landscape that makes full use of everything the site has to offer with light and sandstone as the two main driving elements of the build. In response to his fascination with platforms, Utzon later designed his most major civic project, the Sydney Opera House, which developed clear elements derived from the forms of the temples of Uxmal [fig. 16] which provided lasting inspiration for Utzon (Carter, 2006).

His travels continued to develop his keen interest in the natural landscape and combined with his earlier influences from Aalto, Wright etc. and his father’s engineering background (Carter and Tyrrell, 2013), Utzon began to form the basis for his own architectural language; a phenomenological architecture that provides a tectonic understanding of its landscape. This language enhances the site and experiences of the user to provide the best conditions for living and/or experiencing without any preconceived aesthetic.

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Figure 18: Sydney Opera House

The Nature of Things

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“Frank Lloyd Wright was of the opinion that style emerges when an architect succeeds in building something beautiful that people like; others want to copy it - and then you have a style. I always look for starting points, says Utzon. I hunt high and low for a place where I can begin. I start by saying to myself: Now you have to make this place your own. I have to start from scratch every time, on the terms of the specific place. I have to become familiar with its specific terms, know the exact spot where the sun strikes and where it would be lovely to sit. But once I have got in touch with a place then I have the very greatest hopes for it. Then I envision that everything and anything is possible.”

(Utzon as cited in Møller, 2006:9) The Nature of Things During his career, Utzon developed a large and diverse portfolio of highly individual projects ranging from perfectly executed dwellings, to exemplary poetic civic structures and even phenomenal unrealised designs. Each project, although drastically different

in aesthetic, are unified by a profound understanding of light, material and nature which

implement a unique engagement of form, function and landscape (Leplastier , 2013).

Utzon describes meeting the artist Carl Kylberg as a child when visiting his grandparents;

he taught him to approach projects from a fresh and unbiased point of view (Møller, 2006). This notion of an anonymous approach to every project is developed further when he describes the initial steps he follows when considering his architecture.

Similar to Utzon’s impression of Wright, it could be argued that some architects analyse

a site and then form a single design or concept based on their own style. However, Utzon explains that he searches for where the key vantage points of the site lie and once he understands them, he begins to imagine the endless possibilities rather than that of a single solution as many others may follow (Møller, 2006). This inherent principle

adopted by Utzon has resulted in the diverse range of designs within his portfolio. Carter

recognises that, ”his Bagsværd Church, the two family villas on Mallorca, particularly Can Lis that together with the Sydney Opera House, represent some of the most poetic

essays in phenomenological and tectonic engagement with place.” (Carter, 2013:21). In addition to these key buildings, it is important to note that Utzon took great care in the design of all his projects and each merit their own recognition as successful pieces of architecture (Laylin, 2011).

Figure 19 (top) Kingo Houses Master Plan

Figure 20 (middle) Sketch of Kingo House by Utzon

Figure 21, 22 (bottom) Views of Kingo House

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The Nature of Things

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Kingo Housing scheme Utzon was undoubtedly fascinated with Chinese and Islamic villages, in particular, their use of courtyard design (Botin, 2013). With the courtyard at the heart of a dwelling, Utzon realised that there were endless possibilities for individual development around the unifying principle of private open living, tucked away behind courtyard walls. Møller (2006:56) recognised that, “…he realised that it could provide an alternative to the dull and ugly single-family house neighbourhoods that were spreading throughout Denmark at the time”. This founding principle became the basis in which he designed his first square courtyard housing types for a low-cost housing competition in Sweden, 1954.

Utzon won first prize but the project never gained momentum and was subsequently built several years later without Utzon’s presence (Prip-Buus and Utzon, 2004). Later, in 1957, Utzon was commissioned to design 63 dwellings on a scenic, hilly site in Helsingør which would be later known as the Kingo Houses. This was Utzon’s opportunity to realise his conceptual courtyard designs. The site itself was incredibly scenic; a beautiful hilly landscape surrounding a modest sized pond and forests that were brimming with wildlife — something out of a fairy tale, a landscape reflective of Utzon’s life [fig 21, 22].

Each dwelling consists of a 15 x 15 meter boundary [fig. 20], with the house occupying an L-shaped corner within the courtyard walls, the living spaces overlook internal gardens which are closed off to the outside and block the views of neighbouring properties (Møller, 2006). Drew enforces the importance of Utzon’s notion to approach each project with an individual insight — to respond to landscape and brief implicitly: “It was precisely this quality that Utzon wanted for his architecture; buildings without a signature that were distinguished by their quality of rightness and by how well they fitted in. And that possessed the same qualities of fitness, economy and appropriateness of form as his father’s yachts. This was much more important to Utzon than having his own name identified with a particular work.”

(Drew, 1999:73) The modest footprint of the design provides an extremely economical housing form and lends to the opportunity to create additional communal spaces where the users can experience their land in a richer social environment; each resident has a personal hut, shed or some kind of shelter where they could define its individual use, whether that be for keeping pets, work studios or simply for storage (Prip-Buus and Utzon, 2004). In addition,

Figure 23 (top) BagsvĂŚrd Church

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The Nature of Things

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Utzon created large common areas in the surrounding landscape — creating a housing scheme with a unique urban character containing streets and squares, implementing a contrast between the town and country that creates a wide range of experiences that cannot be found in ordinary, single-family housing schemes. Even today, 40 years after their construction, the Kingo Houses still represent some of the finest examples of humane, medium-density Scandinavian housing (Carter, 2009).

Bagsværd Church In 1967, Utzon was approached by the parish church council of Bagsværd, located just north of Copenhagen, following an exhibition of his works which included the Sydney Opera House and drawings for a small, unrealised church. The two ministers representing the council had been saving for 25 years to rebuild a church on an awkward, narrow site next to a busy roadway. It has been said that when Utzon was teaching at the University of Hawaii, he realised the idea for a beautiful church that later manifested itself into the design for Bagsværd (Matthiesen, et al. 2011). During one of his walks along the Hawaiian beaches, he was inspired by the broken layers of clouds above; this developed the basis for the ceiling of a church [fig. 23] — an irregular array of undulating forms billowing up to an ethereal light above (Frampton, 2003). A beautiful place for people to gather, experience and socialise, all underneath a natural form flooding them with god-like light.

Carter (2013:56) acknowledges that, “The image of clouds is a strong recurring motif in Utzon’s work, as exemplified by Bagsværd Church, where the interior is conceived as a spiritual space for the congregation to gather in an open horizontal landscape beneath billowing concrete ceiling vaults, as if under rolling clouds, through which diffused light enters”.

As outlined by Carter, the design reveals a space that is evidently derived from pure natural forms, like the clouds above the Hawaiian coast, which combined with his keen interest in industrialisation, resulted in a tectonic and sculpturally sacred space (Carter, 2013). Original sketches [fig. 24, 25] demonstrate how Utzon imagined a group of people to gather on the beach whilst being doused in light from the undulating clouds, transforming a natural space into a spiritual experience. It can be argued that his original concept was implicitly translated into the finished design. Utzon enjoyed portraying stories in his work and there is clear evidence to suggest the story of a heavenly light breaking through layers of cloud was successfully personified within Bagsværd Church (Møller, 2006).

Figure 24, 25 (top) BagsvĂŚrd Church sketches

Figure 26 (bottom) BagsvĂŚrd Church exterior

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The Nature of Things

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Although Utzon enjoyed relating his architecture to the landscape, the site of the church is sandwiched between two roads with little nature to talk to; it is here that Utzon demonstrates an outstanding and resilient talent to create beauty anywhere. He turns the churches back to the external environment, where there is little to relate to, and creates a beautiful synthetic landscape internally which carries inspiration to Aalto’s theory of synthetic landscapes from an internal perspective (Utzon, et al. 2005). It is often written that Utzon’s Bagsværd Church represents the formation of clouds (Weston, 2002), and indeed Utzon engages with this theory in his initial sketches and notes. However, it can be suggested that there is a remarkable resemblance in the long section of the building to the forms produced by the waves of the sea; having known that Utzon was a sailor at heart, it is plausible that the water beneath the clouds was just as influential in the design of the ceiling. (Matthiesen, et al. 2011).

Regardless of its inspiration, Bagsværd Church incorporates one of the most poetic uses of light and form in the twentieth century, creating a civic structure that demonstrates a modest ascetic facade with a unique phenomenological interior to rival heaven itself — unlike any other church or design before it (Møller, 2006). It is then no surprise that the jurors of the Pritzker prize put emphasis on Utzon’s ability to create anonymous structures that were so inherently different yet unified by a profound user experience. Frampton (2003:3) explains, “...each work startles with its irrepressible creativity. How else to explain the lineage binding those indelible ceramic sails on the Tasmanian Sea, the fertile optimism of the housing at Fredensborg, or those sublime undulations of the ceilings at Bagsværd, to name just three of Utzon’s timeless works”.

There is a clear sense among several writers, and enthusiasts that Utzon was incredibly unique in that his architecture did not conform to a single design process, or identity, each design takes on a style of its own in response to the environment and personal experience. Although, for example, the Sydney Opera House was influenced by the same principle of cloud-like forms as Bagsværd Church, the Opera House portrays a unique exterior, where the white concrete shells stack above a raised stone platform blending in with the horizon — creating a different poetic aesthetic from Bagsværd whilst sharing its inspiration to the same natural forms. His anonymous approach is clearly demonstrated throughout his career and transcends his architecture into a unique and responsive experience that lends to a profound relationship between light, shade and form.

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Chapter 2

Figure 27: Can Lis living room

A Dwelling on the Rocks

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A Dwelling on the Rocks The Beautiful Rock Can Lis can be found in the small town of Portopetro on the southeast of the Mediterranean island of Mallorca, which lies off the coast of Spain in the crossroads between France, Italy and Africa. Being situated in the centre of the Mediterranean, at the heart of maritime traffic, resulted in Mallorca developing a transcultural history with several different settlers finding refuge on the beautiful island (Dameto, 2015). The island was initially inhabited

by Moors for the majority of its history between approx. 900-1230 AD. The arrival of the Moors brought with it order to an island which had otherwise been in the dark ages without any flourishing races settling on the land prior to the Muslim era. The Moorish people established a new capital which is now known as Palma. This was also when Mallorca began to create its unique urban identity by developing its city walls which were erected to protect the centre of Palma. The walls are still a prevalent feature in the city today (Dameto, 2015). A town of markets, mosques and homes were built within the walls to protect the settlers from piracy and raids which were a constant threat to the island that lay in the cradle of western trading. Following 1230 AD, the Christian kingdom conquered Mallorca from the Moorish people, it then became the Catalonian island of today (Dameto, 2015).

A House for Lis Just before Utzon left Australia in the 1960’s, after the distress of the Opera House, he had just submitted to the authorities for planning permission to build a home for his family in a beautiful place on the coast of Bayview, known as the Bayview House (Weston, 2002). The drawings for Bayview reveal dreams of a dwelling rather similar in principle to what he later built in Mallorca; Pavilions running along a series of planes, each dedicated to different acts of architecture – sleeping, dining, drawing, conversation etc. A place according to the nature of the landscape and securely tucked away behind a blind wall.

A beautifully simple way of creating a refuge from the world, yet a place open to nature and profound living. He left Australia, so the house was never realised, however it seems Utzon never left Bayview entirely. Bayview and Can Lis share many things; the architecture as well as the landscape (Pardey, 2004:17-20). As previously discussed, Utzon was a sailor at heart; so of course the beach, the waves, the ocean, the wind, the cliffs and caves were great sources of inspirations for him (Matthiesen et al., 2011), and of course his

Figure 28 (top left) Rocks of Australia

Figure 29 (top right) Rocks of Mallorca

Figure 30, 31 (Bottom) Can Lis from the cliffs

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existential home had to be a harbour. If one were to compare the rocks of Mallorca [fig.

29] to the rocks of Bayview [fig. 28], they would quickly come to realise why Utzon and his family chose to settle in Mallorca. In addition, they had friends on the Island so they knew the place well, and when they were one day presented with the opportunity to buy the land where Can Lis sits today, they did not hesitate (Pardey, 2004). In the Jørn Utzon Log book on Can Lis, Pardey describes how and why he bought the land in Portopetro in some detail; according to the book, it would seem Utzon chose Mallorca somewhat coincidentally because it reminded him of Bayview. This notion was reinforced during an informal interview with Lin Utzon; it was suggested that they simply chose the site in Mallorca for its beauty rather than for a more complex cultural or historical influence.

Lin Utzon (2016) goes on to outline the beauty and nature of their past homes in Denmark, Sydney and Mallorca by stating “Some areas in the world are just blessed, and Mallorca is one of them”.

Her description of their past residences informs the idea that Mallorca was picked because of its resemblance to the beautiful rocks of Bayview, yet it is reasonable to leave room for reasons a little more complex than that, which Pardey hints at a little, but never really engages with. It could be argued that Mallorca’s Moorish history and Islamic roots could have intrigued Utzon, having fallen in love with his previous trips to Morocco etc. (Matthiesen et al., 2011). The decision could also have been furthered by Utzon’s increasing fame (Dellora, 2013), it could be suggested that the small village of Portopetro offered a new found serenity away from Australia and the Sydney Opera House. There are reasonable grounds to suggest that he may have wanted some peace and quiet following the abrupt end of his involvement with the Opera House — Mallorca could have been a place where people wouldn’t know him as ‘the architect that designed the Sydney Opera House’, but instead, know him as Jørn Utzon (Murray and Peter, 2003). Regardless of the reason, it seems as if Utzon was searching for a new place to create a home for himself, his wife and his children, with the choice immediately falling on Mallorca (Pardey, 2004).

The Experience Similar to Utzon’s later Bagsværd church, Utzon underplays the form and aesthetics of Can Lis upon arrival, it is only until you are inside the dwelling that you get a sense of the phenomenological design (Matthiesen et al., 2011). Visitors are greeted with an avenue of dry, silvered forests, occasionally catching glimpses of the disjointed sandstone

Figure 32 (top) Approach to Can Lis

Figure 33, 34, 35 (Bottom) Entrance threshold

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A Dwelling on the Rocks

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pavilions tucked away behind blind walls; anonymous to the public road. The solidarity of the stone pavilions give no inclination of the dramatic cliff edge located just metres behind Can Lis (Pardey, 2004). Walking towards the front entrance, a modest porch with a weathered timber door, shelters from the hot Mallorquin sun. The silvered timber door is the only inclination of a domestic world behind the blank walls and connects the facade with the surrounding forest (Møller, 2006). Utzon’s humane Scandinavian approach to design is immediately exemplified with the use of a small 2 person seat built into the side of the porch [fig. 32]. Clad in his signature blue and white tiles, the seating transforms the porch into a place where people can rest and shelter from the sun, a place to stay cool whilst awaiting to enter the dwelling. Utzon designed built-in furnishings throughout the scheme, helping to create a sense of place and belonging as though the dwelling was an extension of the landscape; developing Aalto’s notion of architecture as synthetic landscapes (Pallasmaa, 2007).

A crescent moon opening lies directly behind the entrance door; the first glimpses of the ocean and vast blue skies are revealed to the visitor. A perfectly framed picture of what Can Lis represents: sea, sun, shelter and rest. It has been noted throughout Utzon’s writing that he was heavily influenced by Japanese art and architecture which may have informed the design of the moon-shaped reveal (Weston, 2002). Excluding the front door, the entrance room is completely open. No doors or windows to barrier yourself from the outside, inviting you to the open courtyards at either end. The crescent moon subtly points in the direction of the sleeping quarters beyond the north facing courtyard through the larger opening, enhancing its symbolism and connotation with the act of sleeping [fig. 33, 34, 35].

Although pointed left by the crescent moon, you are drawn in the opposite direction; a narrow opening to the right of the room frames a selection of columns flooded in south light [fig. 35], leading you west towards the main south facing courtyard that overlooks the rock cliffs and Mediterranean Sea beyond. Once past the narrow opening, the scale of the dwelling increases dramatically; opening out towards the sea with views out to the horizon below endless blue skies [fig. 36]. Although modest in size, the courtyard provides a profound place for dining, socialising and resting. A dining area is built into the east wall of the courtyard, sheltered by a protruding canopy. The perfect place to eat, looking out towards the picture-perfect views, watching the sun travel across from one side of the courtyard to the other; a celebration of time through the solar path.

Figure 36 (top) Courtyard at Can Lis

Figure 37 (bottom left) Sheltered seat

Figure 38 (bottom right) Point of view from seat

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The courtyard itself is in proportion to the rest of the dwelling; big enough to have a handful of people bathing in the sun yet not too large to outbalance the colonnades and pavilions that surround it. When exploring Can Lis, it becomes apparent that Utzon has scrutinised over the placing of each pavilion on the site, making use of every view and every essence of light and shade, creating a dwelling that is an extension of the landscape and enhances its nature.

The greatest question when looking at the dwelling of Can Lis is where does the site, the deep site, begin? It could be thought that when Utzon was sitting in his chair between the columns on the west side of the courtyard [fig. 37], looking through that perfectly framed view; his eyes were travelling beyond the horizon until they reached the other side, North Africa (Pardey, 2004). Yet, he is hunkering down into the landscape when sitting in the chair which is lowered down half a meter or so [fig. 38], it feels like you are plunging into the ocean in front of you. Completely nestled in the landscape, which only a Dane knows how to do, as he sits there with his gaze resting on the horizon. In that place, one of the most profound places in the building, Utzon is sitting in both Mallorca and Africa simultaneously (Møller, 2006).

Parallel to the main courtyard, just beyond the kitchen and dining rooms, lies another more enclosed court. Sheltered by high walls and covered only by the branching trees, this courtyard has a distinctively ominous and mysterious aura, feeling completely departed from the rest of the dwelling [fig. 39]. It is accessed through a narrow gap between two walls and reveals a space that is reminiscent of Aztec or Mayan temples. The notion of an ancient civilisation is reinforced in the design of the table, where a single blue tile marked south when originally built; evoking the sense of a spiritual platform similar perhaps to the sacrifice stones of the Mayans. The space is Utzon’s own interpretation of a ‘Mediodia’ — a Mallorquin place for the preparation of plants and vegetables (Pardey, 2004:30).

A solitary semi circular table clad in white tiles lies off-centred within the space, indicating that Utzon wanted the users to gather closer to the trees allowing for a shadow to cast over them and keep the area cool, tying back to his humane Danish approach to design.

The softest sandstone appears to have been used in this final pavilion, it can be seen crumbling around the semi circular apertures, suggesting that Utzon wanted the area to rapidly degrade and eventually resemble the temple ruins he visited throughout South America. Finally, the main semi-circular opening, which faces south, consumes the horizon, portraying a full wineglass — increasing the anticipation and enhancing the

Figure 39 (top) ‘Mediodia’

Figure 40, 41 (left) Living room and north courtyard below

Figure 42, 43 (right) Utzon’s sketches

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symbolism of dining whilst preparing for the meal [fig. 35].

As the visitor passes back through the main courtyard, past the dining and cooking spaces, through the entrance threshold and into the north facing courtyard, they arrive at the main living area. This pavilion, the tallest of the set, doesn’t open out to the south like the dining quarters, but rather turns itself inwards to face the north courtyard through a four bayed colonnade, which can be opened or closed depending on ventilation requirements [fig. 41]. When inside this space, your sense of scale changes once again and you are transcended into a different architectural experience [fig. 40]. This dark, cool room that overlooks the sea through several frame-less windows reveals a cave-like interior (Botin, et al. 2012). It has been said that Utzon would sit in the dark sandstone caves below the site before the project had even begun, looking out to the sea through a frameless opening. His experience in the caves has clearly impacted on the design of Can Lis where he successfully evokes the feeling that you are sitting in a natural cave that has been around for centuries — rather than a man-made structure (Weston, 2002).

A double height ceiling [fig. 43] constructed in the typical ‘bovedilla’ system of vaulted ceramic tiles between standard concrete I-beams demonstrates Utzon’s ability to create the atypical with typical materials. Can Lis is a testimony to how well Utzon could push the boundaries with the use of local materials (Møller, 2006). In the centre of this dark, yet contradictorily bright room is another semi circular sculptural element — the tile clad couch [fig. 40] which is a mirror of the open Mediodia pavilion [fig. 39]. The use of heavy stone furnishings helps keep the dwelling cool when the sun is at its hottest and disperses the heat at night where it becomes cooler.

It is in this space where the dwelling’s material purity is most prevalent. A blade of sunshine highlights the rough texture of the sandstone which was excavated only a few towns away (Weston, 2002). The dramatic shadows create a deep contrast between the bright and dark tones of the interiors in Can Lis [fig. 40]. It was written that Utzon requested the blocks to be left untreated in order to express the pattern that the circular saw engraves on each block (Pardey, 2004). The material purity can lend some of its inspiration to a project he greatly admired when studying in Denmark, Grundtvig Church in Copenhagen.

Carter (2013:53) notes how Utzon was deeply influenced by how the church utilises brick throughout the design to create a sense of purity and unity in the project: ”This total commitment to material honesty established a lasting principle for Utzon”.

Figure 44 Bedrooms at Can Lis

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This notion was also prevalent in the Moroccan villages that Utzon found so endearing.

Both precedents taught Utzon that by using the same, local material throughout a project creates both a sense of identity and belonging. Can Lis fits perfectly in the landscape and feels grounded into its surrounding through the unifying sandstone pavilions and rough sandstone landscape. Although the use of a single material to unify a project was inherent in many of Utzon’s projects, it was also just as important for Utzon to use local materials wherever possible, resulting in Can Lis and Can Feliz exclusively using the Santanyi sandstone from the neighbouring town.

The main feature of the rooms are, of course, the extraordinary window apertures. Five deep window reveals make use of the complete daylight cycle, with each spreading out at different angles; capturing different views, levels of light and shade, portraying a unique story in each frame [fig. 40]. As previously discussed, Utzon was greatly influenced

by Aalto and his notion of architecture as synthetic landscapes. This notion lends a lot of inspiration for the dwelling where the living and sleeping areas create a mirror of the caves located only meters below the rocky cliffs which it sits upon. In plan, the window reveals spread out like a hand, like a blossoming flower reaching out towards the sunlight, baring a similar poetic approach to Aalto’s analogy: “... Aalto made the analogy that a group of houses were like the branch of a flowering cherry tree, where all the flowers are essentially the same, yet each is unique, looking this way or that, expanding or retreating, according to its relationship to its neighbours, and to the sun and wind .”

(Weston, 2002:26)

A Dwelling on the Rocks

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The deep window reveals are also used throughout the bedroom chambers [fig. 44], continuing the experience of cave like spaces. Every room perfectly balances light and shade, spaces feel bright and airy however are in complete shadow which creates the perfect atmosphere in the scorching summer months in Mallorca. Similar to the main courtyard, Utzon uses the solar path to demonstrate the passing of time; a single small window, 3 or so meters up on the west wall, cascades a blade of light down the sandstone walls in the late evening [fig. 40]. This poetic celebration of the sun and time only lasts a matter of minutes however it creates a stunning moment to experience at the end of every day — a beautiful idea to complete a beautiful visit at Can Lis.

Upon reflection Utzon demonstrated a great interest in Islamic culture and architecture; he describes one of his favourite buildings as the Great Mosque of Isfahan (Carter, 2009). It could be suggested that the mosque’s use of grand voids, colonnades and coloured tiles inspired him to play with scale and colour throughout his later works, especially in Can Lis. In addition, there is evidence to suggest that his travels to Morocco in 1947 greatly inspired many of the elements in Can Lis and may also have aided his decision to move to Mallorca (Matthiesen et al., 2011). The great walled capital of Palma and the remnants of ancient Islamic towns across the island may have reminded him of his travels to Morocco. Utzon wrote about the importance of his visit to Morocco in many of his personal journals and indeed referenced in many of his later designs (Weston, 2002).

Although the reason for his migration is not completely clear, the geographically complex history of Mallorca, which is right in the heart of the Mediterranean — the cradle of Western and Islamic civilisation, was possibly not as important as the reminiscence of Bayview or the inherent beauty of Mallorca, however, it could be argued to have had an influence in the decision. It could also be suggested that Utzon’s fascination with North African dwellings, with their courtyards and ordered pavilions both influenced the design of Can Lis and the orientation of its elements. It’s almost as if Jørn has created a link between North Africa and Mallorca. Can Lis sits on the edge of Mallorca, with its back turned to the island, opening a dialogue with Morocco which lies directly across the water, tucked behind the perfectly framed horizon (Weston, 2002). The dwelling stands as a monument to his most influential travels. Although there are clear Moroccan influences in the design of Can Lis, it is clear that Utzon has approached the project with an anonymous design ethic, responding firstly to the site, climate and local materials before implementing the courtyard concepts he produced back in Bayview.

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Chapter 3

Figure 45: Pool at Can Feliz

A Dwelling on the Canopy

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A Dwelling on the Canopy The Happy Home After years sitting at the drawing table under his fluorescent desk light, Utzon found his eyes beginning to strain; his vision had started to degrade. With poor eyesight and Can Lis facing south at the edge of a rock cliff overlooking the sea, the constant glare and reflection of the bright Mediterranean sun made it impossible for Utzon to sit comfortably in his own home (Pardey, 2004). Utzon also found more and more architectural enthusiast exploring the grounds of Can Lis, as well as tour boats passing in front of what was once a private, secluded courtyard (Frampton, 2003). It could be argued that the deterioration of his eye health along with the interruption of his private living motivated Utzon to begin to explore the possibility of retreating inland, leading him to designing his second home, Can Feliz, on the side of a mountain between Portopetro and s’Horta. However, Utzon loved adventure (Matthiesen et al., 2011) and it is possible the idea of taking on a new project was of a greater appeal than for any other more practical reasoning.

During a walking tour of Can Feliz, Lin Utzon suggested that: “It was more the adventure” which inspired her father to design Can Feliz. Regardless of reason, it seems as though Utzon had decided to design a new dwelling for himself and his wife Lis, now that their children had all grown up. A house where Utzon could explore creating new and different experiences through his architecture — this time floating over a canopy of forests rather than embedded within the caves along the rocky cliffs of Mallorca.

The Experience Approaching Can Feliz, meaning ‘Happy Home’ in Mallorcan, the visitor can instantly see the inspiration Utzon derived from the Aztec and Mayan temples. The tiered pavilions and terraces protrude out of the tree canopy along the mountain forests, something reminiscent of the temples Utzon found so fascinating during his travels in Mexico (Roberts, 2013). The dwelling is so skilfully integrated into the mountain’s edge that it can become easy to miss, or even mistaken for a sandstone cliff face (Matthiesen et al., 2011).

An ancient Moorish castle lies in the backdrop, behind Can Feliz [fig. 7] — a statement to Utzon’s love for Moroccan culture and architecture. It could be suggested that the way in which the dwelling clings onto the hilltop lends its inspiration to the villages of the Atlas Mountains [fig.14]. The entrance to Can Feliz is a poetic sequence of elements (Møller, 2006) — you approach a canopy of colonnades, perpendicular to the front entrance and

Figure 46, 47, 48 (left) Entrance sequence

Figure 49 Living room detail

Figure 50 View from terrace

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then turning left towards what seems like the front door, passing the first terrace [fig. 46, 47, 48]. Your direction is then shifted once more, finally reaching the skilfully crafted front door. Unlike Can Lis, this entrance is far more refined; a smooth stained door with long sections of glass stands in front of the entrance lobby which lies off-centre to the entrance path. Another tiled feature lies on the far wall behind the door, different in character to Can Lis yet something reminiscent to the crescent moon. This time it is not open, the room is closed, an angled square mirror portrays a window of reflection rather than of views beyond (Pardey, 2004). The entrance lobby lies between 3 doors, one to the living room, the kitchen and the external terraces.

Continuing on into the living room, the sense of a more refined and crafted dwelling compared to Can Lis is evident throughout the room’s elements. Again, the same sandstone is used both internally and externally, implementing Utzon’s preference in material purity. However this time the sandstone is a better quality and sanded smooth, the whole dwelling feels more domestic, bright and clean-cut rather than the rough and natural aura of Can Lis (Møller, 2006). This room, the main room in the house, has a tall pitched ceiling constructed in the same typical bovedilla system as Can Lis. A mirror of the roof construction grid can be seen in the floor pattern below creating a structural plan embedded in the floor itself. Utzon loved to story tell and convey structural honesty, the mirrored pattern is a perfect example of his ability to tell stories through architecture (Pardey, 2004). The way in which the pattern runs helps to draw your eyes to the large frames windows overlooking the southeast of Mallorca and in the far distance, the sea.

The building had to have an element of the sea, Utzon had never lived anywhere without it close by. The living space is divided into two levels, the higher level had once housed a large couch, facing the view, with several typical Mallorquin rocking chairs [fig. 49] arranged around the fireplace on the lower level. A simple, uncluttered way to live with no distraction in the way of the all important view.

One can imagine Utzon sitting on a rocking chair, overlooking the town of s’Horta and beyond, feeling as though he was viewing Mallorca from on top of a Mayan temple.

Soaring over the beautiful island of Mallorca. The feeling of being elevated over the distant towns also creates the sense that you are situated on the twentieth floor of a modern day skyscraper looking out across the city [fig. 50]. However there is no steel, no fluorescent lights, no emotionless interiors; only stone walls that ground you into the mountain-side, a dwelling full of emotions and experience. Once the visitor has walked past the kitchen, and simplistic living and dining spaces, they can then walk out onto the

Figure 51 (left) Living room

Figure 52 (right) Seat and shelf detail

Figure 53 (bottom) Terrace canopy

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A Dwelling on the Canopy

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external terraces. Just like Can Lis, a portion of the roof structure protrudes out to shelter a dining table and row of rocking chairs, incredibly useful in the summer months where the sun is blisteringly hot, however the view creates a completely different experience. The view from this transitional space — between outside and in — is transcendent of anything experienced before at Can Lis. The dwelling evokes the sense of flight; of an uplifting, spiritual experience.

Utzon had successfully synthesised the temple platforms into a domestic setting where it transcends the experience of a home into something tranquil and spiritual. Just as he had described his visit to the ancient Mexican temples. Furthermore, by combining influence from Uxmal and other local materials and builders, Utzon manages to create another unique, anonymous structure that is unlike anything he had designed before.

Figure 54 (top) Living room

Figure 40 (bottom) Living room at Can Lis

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Bound by Sandstone

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Chapter 4 Bound by sandstone Although at a first glance, the two dwellings in Mallorca bare a great resemblance, it becomes apparent how different they are when experiencing them first hand. Initially, visitors will recognise them to use the same materials, the same building methods, and indeed they were built by the same craftsman (Pardey, 2004). However upon further inspection we notice that the stone, albeit the same stone, is used to evoke completely different experiences inside. Can Lis is doused in shadow and light, highlighting the rough, honest patterns left behind from the circular saws in the stone walls — resulting in a truly cave-like ambience as it sits on the edge of the cliff face, whereas in complete contrast, the stone in Can Feliz is smooth and reflects the light, personifying the dwelling into a more refined domestic home, where light floods every corner making the space feel brighter and lighter as it soars above the townscape below. The differences between the structures are also apparent through their plans (Møller, 2006). Can Lis stands as several pavilions, dedicating each to an act of living; sleeping, dining, pondering etc. with external spaces between, where Can Feliz unifies each act of living under the one roof, hugging around a single central terrace.

Although Utzon is clearly inspired by elements of other designs, such as the temples of Uxmal (Pardey, 2004), he never adapts their form or aesthetic but rather recreates their emotions. It can be argued that the emotions felt on the uppermost platforms of Uxmal are successfully translated into the dwelling of Can Feliz, just as the aura of caves has been evoked throughout Can Lis. In addition, Utzon had used the lowering floor levels into the distant horizon to plunge Can Lis into the sea where as in Can Feliz, he raises the building on a series of platforms into the canopy of the mountain to create a dwelling that feels solid in the immediate landscape whilst floating out over the forests and towns.

Frampton (2003) explains it as, “by building up the platform on a level with the roof of the jungle, these people had suddenly conquered a new dimension that was a worthy place for the worship of their gods”.

In contrast, there are also many fundamental principles that are coherent in both projects.

Both dwellings share a sense of hazard and danger in relation to their landscape and views. Can Lis sits on the edge of a 20m cliff, with frameless glazing looking out over the treacherous rock cliff — evoking a sense of excitement from the hazard that lies only meters away (Roberts, 2013). Can Feliz, utilises the sense of excitement in a similar but different

Figure 56 (top) Courtyard colonnades

Figure 57 (bottom) View beyond the pool

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Bound by Sandstone

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fashion; the terrace complex that steps down towards the swimming pool appears to float over a canopy of trees. A sense of refuge is evoked in the solid, grounded stone platforms however the hazard of the drop just beyond the pool somewhat enhances the beauty of the view.

Appleton’s prospect-refuge theory investigates this notion in depth, where the question of what makes a landscape beautiful is investigated thoroughly. The arguments state that the experience of refuge — a place where you can feel safe — can be enhanced with the prospect of physical danger such as cliffs, rivers or harsh weather within the frame of a view (Appleton, 1996). Appleton’s theory can then be seen across a large number of Utzon’s works; both dwellings in Mallorca lie on the fringe of a beautiful, but dangerous landscape, evoking an intense sense of excitement thorough their architectural forms and views out towards their landscapes (Roberts, 2013). It could also be suggested that Utzon’s apparent love for sites on the edges of treacherous landscapes could be influenced by the hunting trips he attended with his father as a young boy: “…the hunter would not stalk deep in the forest nor out in the open, but keep to the fringe - or the ‘eyebrow’, as it is expressed in Danish - where the tree meets the open landscape.”

(Utzon as cited in Pardey, 2004:9) Regardless of their differences and similarities, it is clear that both have been designed independently to respond to their sites and purpose. Can Lis, grounded on the rocky cliffs, has a sense of belonging and creates a cave-like refuge which becomes an extension of the immediate landscape, just as Can Feliz — which clings to the side of a mountain protruding out over the forest canopy — blends in with the sandstone cliffs located throughout the mountain’s landscape.

Figure 57: The Sydney Opera House

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Chapter 5 All Things Considered From his father’s engineering, to the ancient ruins in South America, Utzon has had endless influences informing and moulding his approach to design. His father’s teachings are arguably one of the most profound for Utzon. Aage shared his love for the outdoors with his family, he took them fishing, hunting sailing etc. His daughter Lin noted that he was a keen observer and enjoyed analysing the nature around him. This understandably resulted in Utzon developing an inquisitive mind of his own.

Richard Leplastier worked with Utzon’s office in Sydney and describes how interesting and humble he was as a character, “He was stimulating to be with because he saw everything that was going on” (Leplastrier, 2013:153). In addition to this inquisitive personality, Møller adds that, “In Jørn Utzon’s universe, nature and objects speak an emotionally human language, and it is direct personal experience that activates us” (Møller, 2006:7). This is perhaps the most successful quote at summarising how Utzon processed the world through his own mind. It’s a beautiful notion to think that it wasn’t Utzon that spoke to the landscape but rather the landscape spoke to him, and it was the nature of the site that

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informed Utzon’s designs. Merely acting as an advocate for the landscape, only lightly influencing the designs with the light touch of a beautiful idea he conceived from a trip to Morocco, the skies in Hawaii or the caves below a dwelling.

Although Utzon was motivated by poetic ideas, he was also incredibly efficient at resolving structures and technologies through the use of contemporary and industrial materials. The Sydney Opera House was only made possible after Utzon designed the matrix of the roof structures himself, which ultimately lead to a fallout with the engineers, ending his involvement in the project. This incredible tectonic approach to design was also made evident in the two houses in Mallorca, where he utilised the local building materials and methods to synthesise completely unique dwellings that demonstrated a profound tectonic resolution.

By synthesising Utzon’s resourceful use of structural elements, humane Scandinavian approach to user, remarkable understanding of nature and finally, and his in-depth influences from his travels, results in a unique architectural paradigm — one that transcends

Figure 58 Lin Utzon at Can Feliz

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a space into an experience that is unrivalled and unique in setting and form.

It could be said that architecture is heading in a direction where the needs of the few are outweighing the needs of many. The heads of large corporate businesses, who house thousands of staff, would rather spend their budgets on creating the next tallest tower block rather than the most humane and comfortable working environments for their employees (Rajesh, 2013). This repetition of copy-and-paste skyscrapers, all somewhat similar on the outside however inherently identical on the inside, create dull and depressing living environments for workers that spend most of their lives there (medic daily, 2013). By simply introducing sensible architecture that is influenced by the great Scandinavian masters like Aalto and Utzon, we could drastically improve the environment for the public. A room without a glimpse of something beautiful and natural can make people feel removed from their reality (Møller, 2006). A simple framed window, overlooking a tree, a body of water or even just a small garden could help create a better connection to the outside world beyond the desk — bringing us back to our roots and inducing feelings of tranquillity and belonging.

All Things Considered

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The importance of nature as part of our lives is only just becoming evident as more and more of the public find themselves withdrawing from any sense of it. Richard Louv is an American author who has been exploring this problem in depth. His book, The Nature Principle, explains how people living in dense, modern urban settings are developing what he calls “nature deficit disorder” (Louv, 2012). His solution is to introduce treatments such as “Ecotherapy” or “Green therapy” to help alleviate the stress and depression that our urban lifestyles seem to be causing (medic daily, 2013). However this is completely reactive to a problem where we, as architects, can become proactive.

A chimpanzee, an animal close to our ancestry, is given a home in a zoo that creates the optimum stimulation for them, otherwise the chimp begins to lose interest in daily tasks and can even develop signs of stress and depression (Lutz and Novak, 2005). Are we not as important as a zoo animal? Should we not be responding to our need of natural landscapes and stimulating architecture? As an architect, it is important to carry on the Scandinavian sensitivity to design that Utzon demonstrated throughout his work — where comfort and nature was one in the same thing, where his anonymous approach to design resulted in stimulating and unique structures that were enjoyable to experience.

“Nature cares nothing for appearances… Man selects only for his own good: Nature only for that of the being which she tends.”

(Darwin, 1859) Darwin understood that man is always attracted to the choices that directly benefit himself and in a world where the powerful make our decisions for us, it becomes increasingly difficult to justify the needs of the many opposed to the greed of the powerful. Some could argue that the towns and cities of today, with their endless housing blocks and office towers are signs of vitality, however the counter to this notion is that they are products of pure greed, an unnecessary response to profit (Shaw, 2014). With poor mental health on the uprise, and urban greenery and architectural diversity on the incline (Louv, 2012), it is important to consider just how valuable glimpses of nature and unique architectural spaces really are. It is vital to preserve the legacy of the most humane architects of the 20th century, whilst incorporating Utzon’s grounded thought processes: “In Jørn Utzon’s universe, nature and objects speak an emotionally human language, and it is direct personal experience that activates us.”

(Møller, 2006:7)

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Conclusion

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Conclusion From the beginning, on the harbours of Aalborg, it was evident that family life played a large part in shaping the anonymous architect, Jørn Utzon. It emphasises the importance of encouraging an inquisitive mind, of experiencing life around us and trying to better understand the nature of life.

His time spent traveling furthered his influences greatly, moulding him into the architect that would later design the world renowned Sydney Opera House. From being in Morocco and seeing the dwellings in the Atlas mountains, taking in the knowledge of earth based structures and developing this newly found knowledge into projects such as the Kingo Houses — to travelling to Mexico and developing the vernacular of the Plateau — Utzon demonstrated a profound ability to synthesise influences into his work whilst maintaining a unique anonymity in their design. This context then informs current generations of the importance in traveling, seeing the work of other architects and indeed the work of local vernacular architecture to help expand our architectural vocabulary in order to produce unique, unbiased architecture.

Can Lis further demonstrates Utzon’s responsiveness to the landscapes around him, evoking strong emotions through material and light. Can Feliz, albeit similar at first with regards to the same building materials and craftsmen used, comes to show that both buildings evoke completely different experiences. Utzon, although not evident at first glimpse, responded to both sites in completely different ways, building around the surrounding nature of each. Where Can Lis is hunkered into the rocky cliffs like an existential cave, Can Feliz soars above the forest canopy. It therefore demonstrates that using the same materials and building methods does not result in the same style or experience, where we can indeed create anonymously unique structures with a limited material palette.

As stated many times previously throughout this text, removing nature from peoples’ environment is detrimental to their health and well-being, architects like Utzon recognised this and worked to fix this issue throughout their designs. Encouraging unique architecture that transcends its landscape into a phenomenological experience, we can feel comfortable in our surroundings.

Utzon had a spectacular journey throughout his life that shaped him into the architect that allowed nature to flow freely throughout his buildings and had a positive impact on their surroundings. He has left his mark on the teachings of architecture forever, showing that there is a vital importance to communicate anonymous architecture that is directly motivated by a parallel understanding of nature and technology, rather than that of fashion and style.

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Afterword

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Afterword ...The Final Page

I am eternally grateful to have had the opportunity to explore and research the wonderful work and life of Jørn Utzon. It has been an interesting and engaging topic to discuss with my tutors and it has fundamentally changed the way I think about architecture.

I would also like to extend my deepest gratitude to Line Nørskov Eriksen and Rodger Tyrrell, again, for without their initial inspiration, I may have never dug deeper into the architecture of Utzon.

My one reservation is that I never had the opportunity to go to Aalborg, Denmark to visit the City Archives where Utzon’s original Drawings, journals and notes are located. Access to Utzon’s original writing and notes were very limited online and through published books. Access to the Aalborg City Archives may have provided a more profound body of research.

However, I can only hope that after this dissertation, I can take with me the lessons I have learned from Utzon and his approach to anonymous architecture and sympathy to nature.

I have already started planning my next hill-walk in the Scottish Highlands and where my next architectural pilgrimage will take me. I hope that his influences will help mould me into a better architect, an architect that talks to the nature of the site, an architect that can design based on response rather than fashion, an architect I can be proud of.

- Marc Lladó Hillis

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Bibliography

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Utzon, J. (2013). Jan Utzon’s Summerschool Presentation. In: Botin, L., Carter, A. and Tyrrell, R. eds. Utzon. Dwelling, landscape, place & making. Aalborg: Aalborg University Press p107-136 Utzon, J., Godtfred, J. and Mortensen, B. (2005) Bagsvaerd church: Jorn Utzon Logbook: V. 2. Copenha-gen: Edition Blondal.

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List of Figures

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List of Figures Fig. 1 - Hillis, Marc. 2015. View of Can Lis from the cliff edge. [Photograph] Author’s own. Cover photo - p. 01 Fig. 2 - Hillis, Marc. 2015. Jørn Utzon. [Sketch] Author’s own. p. 02 Fig. 3 - Lindman, Åke E:son. 2011. Available at: http://www.lindmanphotography. com/?page_id=4 [Accessed 15.01.16] p. 06 Fig. 4 - Hillis, Marc. 2016. Can Lis - Living Area [Photograph] Author’s own. p. 08 Fig. 5 - Available at: https://openhousebcn.files.wordpress.com/2012/04/openhousebarcelona-architecture-can-lis-and-can-feliz-jc3b8rn-utzon-mallorca-1.jpg [Accessed: 2 March 2016]. p.10 Fig. 6 - Available at: https://c2.staticflickr.com/6/5459/9573121920_f6ffedb1cd_b.jpg [Accessed: 8 April 2016]. p.12 Fig.7 - Available at: http://www.illesbalears.es/downloadServlet?id=00008851&table=1 (Accessed: 7 March 2016). p.12 Fig. 8 - Hillis, Marc. 2016. View from Can Feliz [Photograph] Author’s own. p. 14 Fig. 9 - Available at: https://www.flickr.com/photos/pbo31/25796856401/sizes/k/ (Accessed: 27 April 2016). p.16 Fig. 10 - malyshkamu (2016) Utzon and Sydney Opera house story – part 2. Available at: https://malyshkamu.wordpress.com/2016/03/20/utzon-and-sydney-opera-house-storypart-2/ (Accessed: 26 April 2016).p.18 Fig. 11 - Available at: https://unswbe.files.wordpress.com/2010/05/utzon_center_123_ photo-thomas-moelvig.jpg (Accessed: 6 March 2016). p. 19 Fig. 12 - Available at: http://www.barkdesign.com.au/files/imagecache/larger/1-studioaalto-finland-alvar-aalto-1962-63.jpg (Accessed: 2 April 2016). p.20

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Fig. 13 - Available at: https://upload.wikimedia.org/ (Accessed: 9 March 2016).p 20 Fig. 14 - Available at: http://www.marocexcursions.net/wp-content/uploads/2015/07/03.jpg (Accessed: 1 April 2016). p.22 Fig. 15 - Available at: https://www.flickr.com/photos/crouch/6535850631/sizes/l (Accessed: 9 March 2016). p. 22 Fig. 16 - Available at: http://thumbs.dreamstime.com/z/uxmal-mayan-ruins-24039572. jpg (Accessed: 1 April 2016). p. 24 Fig.17 - The use of plateau and element in Utzon’s works (no date) Available at: http:// www.utzonphotos.com/philosophy/the-use-of-plateau-and-element-in-utzons-works/ (Accessed: 27 March 2016). p. 25 Fig. 18 - Available at: http://c.mwp4.me/media/wallpapers_1080x1920/world/1/2/ sydney-opera-house-world-mobile-wallpaper-1080x1920-13303-2315318324.jpg (Accessed: 8 March 2016).p. 26 Fig. 19 - Available at: https://relationalthought.files.wordpress.com/2012/02/jc3b8rn-utzon-kingo-houses-near-elsinore- (Accessed: 9 March 2016). p.28 Fig. 20 - Available at: http://arquiscopio.com/archivo/wp-content/ uploads/2013/04/130414_Utzon_Fredensborg_Casa4p_AXN.jpg (Accessed: 9 March 2016). p. 28 Fig. 21 - Available at: https://upload.wikimedia.org/wikipedia/commons/ (Accessed: 28 February 2016). p. 28 Fig. 22 - Available at: http://www.danishteakclassics.com/wp-content/uploads/2010/11/ kingo.jpg (Accessed: 28 February 2016). p. 28 Fig. 23 - Available at: https://farm7.staticflickr.com/6006/5897654850_763051f3 (Accessed: 2 March 2016).p. 30 Fig. 24 - Available at: http://static1.squarespace.com/

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static/50b410cce4b0214dc1f4eee5/t/5112c5dbe4b0a691f407446a/1360184806773/ Utzon+1.jpg (Accessed: 7 April 2016).p. 32 Fig 25 - Available at: http://static1.squarespace.com/ static/50b410cce4b0214dc1f4eee5/t/5112c62ee4b0163d63fc6ec8/1360184888309/ Utzon+2.jpg (Accessed: 27 March 2016). p. 32 Fig. 26 - Available at: https://seddyincph.files.wordpress.com/2013/03/ (Accessed: 11 March 2016). p. 32 Fig. 27 - Hillis, Marc. 2016. Can Lis - Living area [Photograph] Author’s own. p. 34 Fig. 28 - Available at: http://www.beautiful-views.net/views/rocks-sea- (Accessed: 9 March 2016). p. 36 Fig. 29 - Available at: http://letstourist.com/wp-content/uploads/2015/02/Porto-Cristo. jpg (Accessed: 9 March 2016). p. 36 Fig. 30 - Hillis, Marc. 2016. View of Can Lis [Photograph] Author’s own. p. 36 Fig. 31 - Hillis, Marc. 2016. View of Can Lis [Photograph] Author’s own. p. 36 Fig. 32 - Available at: https://c2.staticflickr.com/8/7310/9570324567_57e445fc1c_b.jpg (Accessed: 2 March 2016).p. 38 Fig. 33 - Hillis, Marc. 2016. Crescent Moon [Photograph] Author’s own. p. 38 Fig.34 - Available at: https://www.japlusu.com/sites/default/files/news/SI/A%2BU%20 2013%3A03%20Can%20Lis/JAU_Can- (Accessed: 1 February 2016). p. 38 Fig. 35 - Available at: https://c1.staticflickr.com/3/2825/9573121108_328c653355_b. jpg (Accessed: 2 March 2016). p.38 Fig. 36 - Available at: https://c2.staticflickr.com/8/7329/9570323567_6738594ecf_b.jpg (Accessed: 8 April 2016).p. 40

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Fig. 37 - Available at: http://www.redfundamentos.com/Uploads/Imagenes/266030D98E29-4AB6-9F49-A109FBE2DC14.jpg (Accessed: 2 March 2016). p. 40 Fig. 38 - Hillis, Marc. 2016. View from Can Lis [Photograph] Author’s own. p. 40 Fig. 39 - Hillis, Marc. 2016. Mediodia [Photograph] Author’s own. p. 42 Fig. 40 - Available at: http://www.portamallorquina.com/blog/mallorca/008-CanLis_ MG_36581.jpg (Accessed: 5 March 2016). p. 42, p. 52 Fig. 41 - Hillis, Marc. 2016. North Courtyard [Photograph] Author’s own. p. 42 Fig. 42 - Available at: https://s-media-cache-ak0.pinimg.com/736x/46/7f/a5/ 467fa50652083b7b4ebade5d2f74f490.jpg (Accessed: 5 April 2016). p. 42 Fig. 43 - Available at: https://s-media-cache-ak0.pinimg.com/736x/46/7f/ a5/467fa50652083b7b4ebade5d2f74f490.jpg (Accessed: 5 April 2016). p. 42 Fig. 44 - Hillis, Marc. 2016. Bedrooms at Can Lis [Photograph] Author’s own. p. 44 Fig. 45 - Available at: https://openhousebcn.files.wordpress.com/2012/04/openhousebarcelona-architecture-can-lis-and-can-feliz-jc3b8rn-utzon-mallorca-16.jpg (Accessed: 2 March 2016). p. 46 Fig. 46 - Hillis, Marc. 2016. Approach to Can Feliz 1 [Photograph] Author’s own. p. 48 Fig. 47 - Hillis, Marc. 2016. Approach to Can Feliz 2 [Photograph] Author’s own. p. 48 Fig. 48 - Hillis, Marc. 2016. Approach to Can Feliz 3 [Photograph] Author’s own. p. 48 Fig. 49 - Hillis, Marc. 2016. Living room alcove detail [Photograph] Author’s own. p. 48 Fig. 50 - Hillis, Marc. 2016. View from Can Feliz [Photograph] Author’s own. p. 48 Fig. 51 - Available at: http://www.lindmanphotography.com/wplindman/wp-content/ uploads/2011/05/Utzondip2-1200x818.jpg (Accessed: 5 March 2016). p. 50

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Fig. 52 - Available at: http://www.lindmanphotography.com/wplindman/wp-content/ uploads/2011/05/Utzondip2-1200x818.jpg (Accessed: 5 March 2016). p. 50 Fig. 53 - Available at: http://www.lindmanphotography.com/wplindman/wp-content/ uploads/2011/05/Utzondip1-1200x818.jpg (Accessed: 5 March 2016). p. 50 Fig. 54 - Available at: http://www.lindmanphotography.com/wplindman/wp-content/ uploads/2011/05/Utzondip1-1200x818.jpg (Accessed: 30 March 2016). p. 52 Fig. 55 - Hillis, Marc. 2016. Colonnades at Courtyard [Photograph] Author’s own. p. 54 Fig. 56 - Available at: http://www.lindmanphotography.com/wplindman/wp-content/ uploads/2011/05/Utzondip1-1200x818.jpg (Accessed: 30 March 2016). p. 54 Fig. 57 - Available at: https://c1.staticflickr.com/9/8652/15317026163_f40f17d494_k. jpg, https://www.flickr.com/photos/cheishichiyo/15317026163/sizes/k/ Fig. 58 - Available at: https://openhousebcn.files.wordpress.com/2012/04/openhousebarcelona-architecture-can-lis-and-can-feliz-jc3b8rn-utzon-mallorca-16.jpg

Can Lis Figures by Marc Llad贸 Hillis

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Can Lis

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Appendix A - Can Lis My experience - as seen in foreword During the summer of 2015, I was visiting family in Mallorca. My father, a local builder, had told me about a house he discovered that was designed by a world renowned architect close to his home in Cala d’Or, southeast of Mallorca. A brief look online revealed the architect as Jørn Utzon, described as one of the most innovative architects of the 20th century; I was intrigued, I had naively known him only for his work on the Sydney Opera House.

We noticed that there were scheduled tours once a month, however my flight home was prior to the next available tour. So in true Utzon style, we took it upon ourselves to explore the property which we expected to be vacant between tours. The building is hidden behind a blind wall from the street, we clambered over the rocky cliffs, overcoming any sense of vertigo, to reach the back of the dwelling — which many would consider as the front, where the building opens up to the Mediterranean Sea. It was far more intriguing from this angle, immediately I saw why Utzon was so well acclaimed. The Pavilions stepped out from the forest trees, each looking at the sun and sea from a slightly different perspective, clustered around an open courtyard that steps down towards the rocky cliff face, 20 meters or so above the Mediterranean sea. It looked like a profound way of living, a cave-like refuge on the edge of a beautifully treacherous cliff face.

Much to my surprise, a gentleman was sitting in what would later be my favourite spot of the dwelling, looking out towards Africa between two columns and shaded from the hot mid-day sun. His name was Rodger Tyrrell, he was accompanied by Line Nørskov Eriksen, a Ph.D. candidate studying Utzon’s oeuvre at the time. They welcomed me in with open arms and gave me the most insightful tour I could have ever asked for. Both were brimming with knowledge regarding anything related to Utzon; it was a truly sensational experience. This new found admiration for Jørn Utzon came just before my 4th year of architectural studies, it was perfect timing to base the grounds of my dissertation on this incredible experience.

Can Feliz Figures by Marc Llad贸 Hillis

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Can Feliz

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Appendix B - Can Feliz My experience Once I began to explore the work of Utzon in more depth, I knew I wanted to visit his second dwelling in Mallorca, however it was privately occupied by his daughter, Lin Utzon, and not open to the public. Looking at photos and reading into the dwelling was not as stimulating as visiting it — I think Utzon would of agreed that it was vital to see the house with my own eyes rather than through publications.

I was lucky that I had family and friends in Mallorca who were of great help during my research. I contacted who ever I could in the hope that someone may know the resident, Lin, or how to reach her — luckily a family friend named Morag Bain worked in a restaurant that Lin visited and indeed, knew her on a personal level. Morag was a great help in organising a visit to see the house of Can Feliz.

Morag, my partner Louise, and I all travelled to Can Feliz together in January 2016. Not knowing what to expect, I was surprised when Lin offered to take time out of her busy schedule to talk me around the house — She was working on a large exhibition for Venice at the time.

The house was the perfect place for such a talented sculptor to both work and live in. The dwelling is flooded with light and every room contains inspirational views out to nature. I can understand why Lin is so fond of her home in Mallorca. After we were greeted into the dwelling, Lin began to show us around the home. The transcript of the visit to Can Feliz can be found in Appendix C, p.73

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Transcripts

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Appendix C - Transcripts Guided tour of Can Feliz Guide: Lin Utzon — resident.

Participants: Lin Utzon, Morag Bain, Louise Hogg and Marc Hillis Setting: Informally introduced at the building Can Feliz through a mutual friend, Morag Bain who set up the opportunity to visit the building and meet Lin Utzon. After initial introductions, Lin brings us in to her home and begins to show us around: [Start of transcript] MH: "Thank you again for taking the time to give us a tour of Can Feliz, I really appreciate it, it's a big help and really interesting to see it in the flesh!"

LU: "It's no problem at all Marc."

[Marc, Louise, Morag and Lin are standing in the main living space of the dwelling, overlooking the horizon and southeast costs of Mallorca through the living room windows] MH: "So tell me about the place, how did your parents use it?"

LU: “They used it as their home, it was built just for them, there were only two single bedrooms and two bathrooms. Space to contemplate and so on…”

[By that time the family had grown up thus why there were only two bedrooms, at Can Feliz.]

[Marc, Louise, Morag and Lin then walk through to the kitchen.]

“This is the kitchen, it’s very high. My father was very tall but my mother was not, she was always stepping up on her toes.”

MH: "Wow, that is incredibly high! Do you use the kitchen a lot?"

LU: “You know what, I’m not a fantastic cook, it’s not one of my passions or anything — I like making plates and stuff. I find I walk far too much here, there’s not a lot of table space. But I’ve changed some things and I’m not going to change anymore. [She changed the kitchen colours, they were dark blue in the original form.] I had many

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discussions with my father about it. I said ‘but you can’t see anything’, so when I took it over [the house] I changed it. For me it worked better.”

[Marc, Louise Morag and Lin then moved out of the kitchen towards the dining and living areas, there used to be two rooms however she made it into one after five years of living there.]

MH: "What were the rooms like before?"

LU: “They were quite compact small spaces, that didn’t have a window in the back and that gave for example when my parents lived here, my father had problems with his eyes. But he was always sitting with his back to the view, and I was always wondering why do you have your back to the view, but I have a bit the same problem but I thought no no I need to have more light in this room so we made the window. It’s very harsh, if I turn around I can see double.”

MH: "Ah ok, the North light is softer on the eyes."

LU: “we live differently [referring to her father]. For me, it’s softened by the fact that there are more windows” MH: "I've read a few books that suggest Jørn's move to Can Felix may have been influenced by the harsh glare of the sea beginning to become to much for his eyes at Can Lis — is this accurate?"

LU: “It was more the adventure.”

[Marc, Louise, Morag and Lin move outside to talk.]

MH: "What are the bathrooms like?" [The bathrooms are in the bedroom areas where Lin's partner was working, there was no entry on this day.]

LU: “The bathrooms were similar to Can Liz in that they were very basic.”

“They were very, very simple but very sort of… genuine in a way.” [With regards to the old bathrooms in Can Liz before they were renovated.] “Table with an American sink and a tap, and a toilet where you couldn’t be seen from anywhere, and a shower with a wall and tiles and a normal American shower head and tiles everywhere so it didn’t mould and the new bathrooms are very ‘designer’ bathrooms and made in sandstone, that goes black – it doesn’t work at all. Somebody said to me who was staying there ‘it’s really terrible, it never dries’. So I’d say he had a better sense of the bathrooms but aesthetically looks you’d go oh, and of course he had shelves for putting things on and

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I think now there’s one little thing where you can put things on, there’s nothing to put everything on. He would have never put the shower they put, that stick no, he’d just have a nice big shower head that would work.”

MH: "I read that he was very practical?"

LU: “He was very, very for using everything that was local. He didn’t want anything that wasn’t available. His idea was that you should be able to build something that was from where you were and it was his brilliance that he also used everything from the place but in such a different way.”

“All the furniture, everything is from here (Mallorca). He did the rocking chair, [Lin pointed out to Marc, Louise and Morag the rocking chair which sat outside] he changed it a little bit with the carpenter to make it a little bit bigger because he was big. He had it widened and heightened.”

MH: So for my piece of writing for the university, I’m exploring how I feel that the greatest architects are the ones that want to learn about the natural and built environment and who like to experience the world first hand, that’s kind of what I’m trying to write about. I’m particularly looking at Utzon and the two houses in Mallorca and I’m trying to bring it back to how he was brought up around sailing and with your grandfather how he designed yachts. I read an interesting point from one book that said he looked to the marine life and the fish to try and better understand how his yachts would work, and from what I’ve read that’s something Jorn Utzon really tried to take on himself – he was trying to understand nature and have the building work along with the nature. That’s what I want to try and write about.

LU: “He was very, very observant of nature and very influenced by it but the other thing that my father was really brilliant at was that he was I’d say a ‘key-finder’, so he would have a project somewhere, like the house down here or the Opera House or a church or whatever and he would find the key to that problem that he had to solve. How did you make people feel in the case of the Opera house - anticipation to go away from that world of ordinariness that you were in, and how do you in the house, down on the coast (Can Lis) or here (Can Feliz) you would sit in different places. What did he want to feel?

So in fact what he achieved was the place where his buildings were put became better, became more aware. You become much more aware here (Can Feliz) of the mountain top, than when there wasn’t anything, and the same thing on the coast – you’re totally aware of the sea and the sky and the universe and that sort of dialogue that you suddenly find yourself in. For example the church in Copenhagen he thought ‘well what is a holy space?’ and he lay on the beach in Hawaii and saw lots of that beautiful holy light that they all have there. That I think, is his really major contribution to architecture, which is why his architecture is very varied in its form. It’s not something that he imposes

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every time, ‘this is me, that’s my form and this is what you get’ – not at all, it was like ‘that’s the problem how do I solve it best?’

MH: "He’s good at observing and then making something that enhances the landscaping."

LU: "He had somehow that knowledge of what is important just here between the landscape and the problem and the human being. It was always in the very forefront of his mind, the human being is going to find himself here, how will you feel if you sit here? Then he was also brilliant at production methods, at finding these elements, possibilities in everything. " MH: "It seemed that he liked to push the boundaries."

LU: "Yes, It gave him great freedom in a very structured way which gives you that sense that there’s a backbone from which everything comes."

MH: "There’s a term in architecture called ‘tectonic architecture’ and it’s about kind of using technology and it’s structure to create not just a well structured house but a beautifully structured house and I think he did that very well. With the Sydney Opera House especially, the structure for that is beautiful."

[Marc then pauses and looks at Can Feliz from the outside] MH: "Wow, I hope someday I’ll make something as fantastic as this."

LU: "Well maybe you will, but it’ll be in your time which will be marvellous and interesting to see what you can do because people can do so much nowadays, everything is changing. But I think a lot of architecture nowadays is becoming very about the ‘show’. But of course the clients are very difficult, if you don’t have a good client. With the church my father had a fantastic client."

MH: "Yes, I read about that they had saved a lot, a lot of money for several years."

LU: "Yes, they really wanted it and he didn’t want to do it and my mother did."

MH: "He didn’t want to do it!? Wow!" LU: "No, he’d had so much bad luck after the Opera House. With the stadium in Saudi Arabia where the King was killed so that was scrapped the project, and the theatre in Lebanon which was scrapped because of the war – many different public projects that were scrapped, he said ‘I’m never going to do another public project.’ But he did that

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[the church] and was very happy to do that."

MH: "I like these tiles" LU: [Referring to the tile wall on the outside that Marc had just mentioned that she had also changed the colour of from dark blue and violet blue to white as she thought it was “too harsh”.] “I think it works, Jose told me ‘your father never solved that, he would be quite happy to see this’. “We discussed it so much and then my father removed some tiles in the middle that were violet blue and dark blue and he made some of them white but it wasn’t enough.” [she did it will he was still living] “They moved out of the house and moved to Denmark and wanted me to take over the house, so I did, but he didn’t want to see pictures. Once they left, they just left.”

MH: "Do you know why Jørn picked Mallorca? I understand he had friends here?"

LU: "My parents went to Morocco because of a project my father had and after that he spent a lot of time in Morocco and loved that and decided when he won the Opera house that they would like something in the southern part of Europe, and they looked all along the French coast and Italian coast and here, and these friends who lived in Porto-Petro were like ‘why don’t you come here, it’s wonderful’. So they came in ’58 and met a woman who had a newsagent in Porto-Petro, Catalina, and she said ‘well my mother has some land for sale’ so they came up here. He chose it because of the beauty, there are places in the world that are blessed let’s say. Mallorca is really special, Ibiza is so small that you are really feeling the tourism whereas Mallorca you feel real life as well as the tourists – you don’t need to feel the tourists at all, it’s like the island is big enough to have its own life. " MH: "What a beautiful way to describe Mallorca, I think I've asked all the questions and got all the information I need Lin. I've learned a lot of valuable, interesting information with this tour that will really help me out with my dissertation, I can't thank you enough for showing us around and telling us all about your father and his work. It's been lovely to meet you, thank you very much Lin." LU: "I'm pleased I could help Marc. It's been nice to meet you too, I wish you luck with your work"

[End of transcript]

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THE UTZON PARADIGM

An anonymous approach to architecture.

Marc Llad贸 Hillis 漏 2016