Utzon'un Orta Doğu'su: Jørn Utzon'un eserlerinde geleneksel ortadoğu mimarisinin yeniden yorumlanması

Middle Eastern ideas had a remarkable influence on Utzon's artistry besides other non-European cultures, as seen in his manifestations and architectural works. However, the effects of Middle Eastern building culture on Utzon's career have not been carefully investigated. In this manner, this thesis aims to explore the reinterpretation of Middle Eastern ideas in Utzon's work to reveal his cross-cultural position and trans-cultural intention. It argues that the Middle East provided ideas to Utzon over his lifetime career, and gave inspiration for the manipulation of his ideas and ideals. Regarding this context, the research firstly examines Utzon's Middle East through his social and cultural background by surveying his readings and study trips and reviewing his manifestoes, project descriptions, and edited materials. Secondly, Utzon's early perception of the Middle East was illuminated with built-form analogies, such as the Sydney Opera House and Masjid-i Jamii of Isfahan, the Melli Bank and Masjid-i Shaikh Lotfollah, the Silkeborg Museum and Bazaar of Kashan. Thirdly, the transformation of Utzon's ideas and ideals between his two manifestos, the 1962 "Plateaus and Platforms" and 1970 "Additive Architecture", is investigated by highlighting the limitations and strengths of a series of buildings and projects. Fourthly and finally, Utzon's seminal project proposal for the Farum Town Center is examined as a case study to reveal the role of the Middle East in his "additive" theme. Utzon's receiving of the Middle East, specifically through the Grand Bazaar of Isfahan, could reflect Utzon's manipulation of a group of ideas to resolve the limitations of his earlier projects, seen in the Farum Town Center proposal.