Alternately celebrated as visionary architecture finally
bringing Australia into line with enlightened overseas thinking, or as an
initially expensive, but ultimately very successful, national branding
exercise, commentators have failed to appreciate the true significance of the
Sydney Opera House.
Perhaps its meaning and role was more mysterious than first
appears, since the origins of the concept can be traced to the anxieties of
Europe early last century. Perhaps it
was a subtle attempt to
re-engineer the city based on a utopian view of the world, a concept of a
building and its role in society formulated by German expressionists during the
turmoil around the Great War.
On this reading, the Opera House would be more than just a
building but an attempt to bring existence to a higher spiritual level. It would be a centrepiece of an alternative
society, not simply the addition of more bricks and mortar (or in this case
concrete and glass) to a complacent materialist city.
For the ideal of the German Expressionists was to return to the
purity of simple direct rural life and, in a post-religious age, to create new
beacons of light - new cathedrals - at the centre of these new, more cohesive,
communities. In that peculiar German
way, the ideal combined both the perceived organic unity of the distant
medieval past, with a yearning for a transcendent utopian future. Both the future and the past were a rejection
of the sordid inadequate present. Mixed
in with this is the notion of the ‘volk’ or the people naturally united into a
singular mass, the very opposite of the conflicted materialist, perpetually
anxious, citizens of the countries of Western Europe.
In the absence of a transcendent Christian God as the
inspiration, these early Twentieth Century idealists fixed their schemes on
awe-inspiring geological certainties. The notion of towering cathedrals of light
merged with images of lofty mountains and conglomerations of primeval
crystalline forms. What could be more
uplifting than great height, openness, and all enveloping light? In contrast to the previously stable,
balanced, harmonious forms, the new ideal was dynamic, rhythmic, unified and
directional.
Of course, it is hard to argue that it was a conscious scheme by
the Utzon or anyone else, but the lineage is apparent from a quick skip through
a sequence of images perhaps beginning as far back as Caspar David Friedrich’s
painting of a mountainous collection of crystalline ice shards (The Sea of Ice,
1824) to the dreamy drawings of Bruno Taut, Bruno’s own mini-crystal cathedral
(Glass Pavilion, 1914) and various (mostly unrealised) schemes for public
theatres, churches , exhibition buildings by other designers during the 1910’s
and 20's.
The key ingredients of Expressionism are there in mid-century
Sydney: roof shells as sequenced contracting gothic arches, a mountain-like
striving for height as the roofs build to a pinnacle, the lofty elements
themselves raised on a platform of foothills and the clear sense of flow
provided by the peninsular location. Like a medieval cathedral, light was the
driving force, but unlike the past, technology would allow more than simply
vertical surfaces of glass, instead permitting complex cascading transparent
slivers.
Possibly the final design was the
result of the fortuitous accident of the site (providing directionality,
isolation and prominence), functional requirements (the onetime need for a
stage lift in the main theatre pushing up the initial heights), and of course,
a collection of perhaps deeply imbedded ideas about cities, space and form
brought by the architect, if only his own acknowledged fascination with the
Gothic: the importance of roofs for creating dynamic interior spaces.
If the hidden agenda was to create a harmonious society with the
humble peasantry scattered around the shores of the harbour finding
enlightenment and contentment in this house of light, moving beyond squalid
squabbles over material things to an appreciation of the deep spiritual forces
of the earth, this has not obviously happened.
It seems that neither of the warring tribes that inhabit the
shores of the harbour is content. The
conservatives who initially supported the idea of a new cultural anchor (or
entertainment alternative) that was long overdue for the city, may have
ultimately come to see the building for what it was: a threat to the previously
secure notions of culture and society. Perhaps pushed along by this new cathedral,
culture was to become less the safe repetition of lofty ideals, than an
exercise in collective psychoanalysis: a constant questioning and re-examination of
social ills and
personal confusions. Ultimately
conservatives were able to partially disembowel the building by engineering
the dismissal of the architect and excluding opera from the main space,
ostensibly the main purpose of the building. On the other hand, progressives were
unsatisfied with the half-realised dream and, in more honest moments, the
distant elitist reality of the location and the sails themselves
that help limit internal spaces, restricting numbers and functions – not the
people’s hall that many may have had in mind.
Perhaps the confusion and contests about the meaning and
realisation of the building can be traced back to the inadequate ideas of a
collection of anxious Germans one hundred years ago, conjuring up their
soothing dreams in a time of great conflict and uncertainty. The wild imaginings of a generation traumatised
by war, and the preparations for war, were too elusive to be easily turned into
a solid form, or at least a form that would provide the all-enveloping calming space
and light that they dreamed of.
Possibly in the end, the only unifying element throughout this interminable
conflict over the role of the building, its financing and appropriate completion,
as well as reconciliation with its creator, is the commercial success of the
building as a marketing icon.