Utzon completed his architectural training in Denmark during World War II when Germany occupied the country. In the first two decades following his training, there were limited opportunities for large-scale projects in a war-torn Europe.
Gehry finished his architectural training just before the urban construction boom in Los Angeles. In the initial two decades after his training, he had already amassed a wealth of construction experience that many architects would not typically acquire until much later in their careers.
Utzon got his first high-profile international project, the Sydney Opera House, at the age of 39, a relatively young age for an architect. It turned into a fiasco and damaged his reputation. Large project clients had shunned Utzon for decades after the Sydney Opera House project. The Opera House remained his sole internationally renowned undertaking.
On the other hand, Gehry got his first significant international project, the Bilbao Guggenheim museum, at the age of 64. By then, he had had more experience in navigating complicated business and political interests; in addition, Computer-Aided Design (CAD) software had also become available. Gehry’s firm was a pioneer in using software modeling for greater precision in transitioning from design to manufacturing.
The Bilbao Museum was not only a sensational success but also an economical one. On time and under budget, this project opened doors for Gehry to embark on increasingly grand and audacious projects for the next three decades.
The Sydney Opera House transformed the image of a young country. The culture, tourism, and economic growth brought about by this iconic structure in the following half-century would ultimately offset the cost of its construction. However, how do we gauge its impact on Utzon's career? How do we assess all the remarkable buildings that Utzon could have created but was never permitted to design?
Jørn Utzon, at the age of 85, was finally honored with the prestigious Pritzker Architect Prize. By this time, he had become too frail to attend the ceremony in person, and his son accepted the honor on his behalf.
As if fate had intervened, Frank Gehry, a Pritzker laureate of 14 years, served as one of the jurors in 2003. Gehry spoke of Utzon, not unlike someone who had fought in the same battle:
He made a building well ahead of its time, far ahead of available technology, and he persevered through extraordinary malicious publicity and negative criticism to build a building that changed the image of an entire country. It’s the first time in our lifetime that an epic piece of architecture gained such a universal presence.
He also acknowledged that it was Utzon’s pioneering effort with the Sydney Opera House that paved the way for his own Guggenheim project in Bilbao.
While Gehry was overseeing the Bilbao Guggenheim project (1993-1997), his other project, the
Disney Concert Hall (1991-2003), faced similar malicious publicity and negative criticism.
He
found
himself on the verge of being forced out, much like Utzon. Fortunately, the success of the Bilbao
Guggenheim and the support of Disney family donors allowed Gehry to see the Disney Concert Hall to
completion.
As Gehry wrapped up the Disney Hall project and sat on the Pritzker juror’s board, what might have gone through his mind?