![]() My father, who was 80 at the time, did not want to travel to Sydney, but requested that I, his son, be his representative. In 1999, my father, Jørn Utzon, was approached by the Sydney Opera House Trust with regards to his possible engagement in the work for the future of the Opera House after many years’ absence. How was your father re-commissioned to work on the Sydney Opera House? ![]() I spent my years from 18 to 22 in Sydney-a very important time in my life that I remember clearly and fondly.Ĭourtesy Jan Utzon Jørn Utzon and Richard Evans, former CEO of the Sydney Opera House ![]() We as a family felt very welcome in Australia, and the focus on the Opera House gave us many contacts. While we were in Australia, the casting of the elements for the roof began and erection of the roofs commenced. The podium on which the roof rests had been completed in its raw state by the time we arrived in Australia. I had the rare opportunity to see the craftsmen and tradespeople working, to see the complexity of a completely new and different type of construction site. Throughout this time my father had always kept us-his family-informed of this work, his ideas, his sources of inspiration, and shared with us his enthusiasm for Australia, Australians, and the new project for the Sydney Opera House.Īfter I enrolled at the school of architecture at the University of New South Wales in Sydney, I began to visit the Opera House building site regularly. Prior to our move to Australia, my father had been working for six years on the project in Denmark with frequent trips to Australia. When we arrived in Australia early in 1963, a completely new world opened to us. ![]() ![]() What do you recall about the Sydney Opera House project after your family’s move to Australia? Courtesy Jan Utzon The Utzon family, circa 1964 (l to r): Wife Lis, daughter Lin, son Kim, and Jørn (Jan not shown) ![]()
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