Jørn Utzon
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| Jørn Utzon, Ibai Gandiaga, 2010 |
What is great architecture and what isn't great architecture, it isn't only how well it works and so forth, but its the quality for Jørn that is how much does it inspire man.
If one cast a cursory glance over the submitted designs for the Opera House they would have been affected- for good or worse- at the entry of a young Danish man, Jørn Utzon. In fact the story goes that when the judging panel comprising two of its three members were culling unwanted entries they had discarded Utzon's entry. If it hadn't been for the arrival of Eero Saarinen, the third member of the panel, the history of the Sydney Opera House would have been very different indeed. Luckily for Utzon, Saarinen had retrieved the disposed designs and upon sighting his design declared it "outstanding".
This story would only be only the start of a prolonged, highly publicised love-hate dichotomy with Jørn Utzon.
After the announcement of Utzon's success in the competition on the 29th of January, 1957 the young architect travelled to Australia to witness in person the site that would be the stage for his innovative masterpiece. At the time of his arrival in July 1957, the site was still occupied by a tram depot. This would not be removed until August 1958. Utzon used this window of opportunity to refine his design after consulations with the builders revealed unforseen difficulties in the execution of the challenging structural form. It took six years of refinement before a potential compromise was made between the design and architectural constraints. He would also spend another three years overseeing the construction. Behind this process of tweaking his design, immense pressure was mounting from the NSW State Government to urgently proceed with the task of construction.
In March 1959 the process of establishing the foundations of the structure was commenced, in spite of Utzon's ongoing battle to perfect the design. In 1963 Utzon moved permanently to Sydney with the commencement of work on the House's interior. By 1964, the design had progressed to the completion of the roof of the outer shells. Though troubled by political pressure to quickly finalise the construction and remain within budget, his confidence was bouyed by the enthusiasm of the community towards the project. This would change drammatically only one year later with a sudden change in government.
Some years after the passing of the sympathetic NSW Premier John J. Cahill on 22 October 1959, a Liberal Government led by Robert Askin was elected. From the time of his election in 1966, the party were highly critical of the progress acheived thus far. Askin demanded that from that point onwards any change would need to first gain the approval of the Government. The antagonism towards Utzon became amplified to the extent that Utzon's office were no longer receiving payment for work completed. Ultimately the financial strain became too great and Utzon resigned.
While many thought this decision was sound, an increasingly vocal group of protestors comprising noted architects, youth and other members of the general public vented publicly their disapproval. A group of academics from the University of UNSW united together to place pressure on the Government to return Utzon. The Powerhouse Museum, based in Ultimo, have a number of original posters from 1967 that exclaim the catchphrases "Bring Utzon Back" or "Utzon Back and Keep Our City Clean".
Ultimately, Utzon has been vindicated for his work by the positioning of the Sydney Opera House as one of the most iconic images of the city, even if he never did receive that invitation to the house's opening.
Frank Barnes on Jørn Utzon
To hear a recording of an interview with Frank Barnes, past General Manager of the Sydney Opera House, on 26 June 1974 follow this link.
Dame Joan Sutherland
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| Sutherland in 1975, Allan Warren |
Once described as "the greatest voice of the century" by Luciano Pavarotti, Dame Joan Sutherland has been bestowed with many honours in her life and she looks set for one more. When news filtered through of her passing in the past month, her life story was retold to those who already knew of her fame but it also reached new audiences who may be too young to have known about the momentus career of Sutherland. I count myself as one of the latter.
Born in Sydney in 1926, Joan Sutherland was early in her life denied her dream for pursuing singing and was a reluctant student in a secretarial college. After a stage debut in 1951 she travelled to England to become a student of London's Royal College of Music. Showing great promise she was soon employed by Covenant Garden to appear as First Lady in Mozart's The Magic Flute. This debut set the stage for future accomplishments, such as a 19 minute standing ovation in 1959, that would lead to her being bestowed with the nickname "la stupenda" (or "the stunning one").
But though her life achievements are well known and indeed deserving of recognition, the Australian community will no doubt be divided on the campaign to have the Sydney Opera House renamed in her honour. The suggestion was first made by Barry O'Farrell, the NSW opposition leader who is looking down the barrel at an upcoming state election in the coming year.
So what do you think? Should the Sydney Opera House be renamed in her honour, or is her commemoration best left for another domain?
