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It's about time Sydney had an arch, even if it's not strictly an improvement It's about time Sydney had an arch, even if it's not strictly an improvement
(about 3 hours later)
So Sydney is to have an arch. It's probably about time. Arches are some of the oldest, most basic, most viscerally appealing structures we have. Even bowerbirds know the virtues of a good arch, making them out of twigs. The Romans built them everywhere they dominated, and then left them there as a statement about the permanence of architectural government.So Sydney is to have an arch. It's probably about time. Arches are some of the oldest, most basic, most viscerally appealing structures we have. Even bowerbirds know the virtues of a good arch, making them out of twigs. The Romans built them everywhere they dominated, and then left them there as a statement about the permanence of architectural government.
For centuries, masons imitated and were impressed by the simple mathematics of the load-bearing. In the concrete age, civil engineers got wild and drew ever-crazier and ever-grander spans: the Gladesville Bridge in Sydney stands to the memory of post-war pencillers who saw in a highway project the chance to Think Big. When it was built it was the longest concrete arch in the world. It's still mammoth, evocative of the highway future of the 1950s. The Sydney Harbour Bridge, our city's symbol, is a suspended arch, but in the end, it's a very functional road and rail corridor.For centuries, masons imitated and were impressed by the simple mathematics of the load-bearing. In the concrete age, civil engineers got wild and drew ever-crazier and ever-grander spans: the Gladesville Bridge in Sydney stands to the memory of post-war pencillers who saw in a highway project the chance to Think Big. When it was built it was the longest concrete arch in the world. It's still mammoth, evocative of the highway future of the 1950s. The Sydney Harbour Bridge, our city's symbol, is a suspended arch, but in the end, it's a very functional road and rail corridor.
The planned City of Sydney "cloud arch" is more in the other tradition: arches for the memory of glory. The Arc de Triomphe at the top of the Champs Elysées, the Brandenburger Tor at the end of the Unter den Linden, and Constantine's arch – the model for the others – outside the Colosseum in Rome: these are all meant for people to pass through, rather than over, and meant to impress rather than actually do anything.The planned City of Sydney "cloud arch" is more in the other tradition: arches for the memory of glory. The Arc de Triomphe at the top of the Champs Elysées, the Brandenburger Tor at the end of the Unter den Linden, and Constantine's arch – the model for the others – outside the Colosseum in Rome: these are all meant for people to pass through, rather than over, and meant to impress rather than actually do anything.
In St Louis, Missouri, in the United States, there's the latest of these structures, the Gateway Arch, a colossal concrete-and-steel curve, commemorating that nation's westward expansion. Native Americans, I expect, find the monumentalism in somewhat poor taste, and post-modern eyes find the naïve baby-boomer optimism a bit much; it is, like the title of the excellent blog, Paleofuture, a look into a future that never was.In St Louis, Missouri, in the United States, there's the latest of these structures, the Gateway Arch, a colossal concrete-and-steel curve, commemorating that nation's westward expansion. Native Americans, I expect, find the monumentalism in somewhat poor taste, and post-modern eyes find the naïve baby-boomer optimism a bit much; it is, like the title of the excellent blog, Paleofuture, a look into a future that never was.
This Mississippi parabola is the one that most closely resembles the planned sculpture for Sydney. When we look at Lord Mayor Clover Moore's plans for Sydney's arch, the question we're really asking is: what will future generations think of us?This Mississippi parabola is the one that most closely resembles the planned sculpture for Sydney. When we look at Lord Mayor Clover Moore's plans for Sydney's arch, the question we're really asking is: what will future generations think of us?
Sydney's arch is modern, but without many of the defining features of the future that 20th century modernists had planned for us. Owen Hatherley's incendiary Militant Modernism (2009) describes what that vision looked like: brutalism without brutalisation, shared living spaces and shared lives, and a municipal, monumental socialism of council blocks a tenant-owner could feel glamorous in.Sydney's arch is modern, but without many of the defining features of the future that 20th century modernists had planned for us. Owen Hatherley's incendiary Militant Modernism (2009) describes what that vision looked like: brutalism without brutalisation, shared living spaces and shared lives, and a municipal, monumental socialism of council blocks a tenant-owner could feel glamorous in.
But in Australia, this built-environment modernism was always a reactionary movement. We never had the Fabian soft touches of the UK or the harder leftwing edges of the European avant-garde. The Australian post-war "progress associations" were unashamedly middle class, pro-development and promoted the use of public money to "improve" areas. They succeeded, of course, beyond expectations. If there exists a monument to post-war Australia, to the decades-long shift of public functions to private wealth, it's kerbs and gutters outside privately owned houses, paid for by councils – every stormwater drain a miniature victory arch.But in Australia, this built-environment modernism was always a reactionary movement. We never had the Fabian soft touches of the UK or the harder leftwing edges of the European avant-garde. The Australian post-war "progress associations" were unashamedly middle class, pro-development and promoted the use of public money to "improve" areas. They succeeded, of course, beyond expectations. If there exists a monument to post-war Australia, to the decades-long shift of public functions to private wealth, it's kerbs and gutters outside privately owned houses, paid for by councils – every stormwater drain a miniature victory arch.
This paradox of public space and public spending runs right through the City of Sydney's plans for central public art, and throughout plans for the centre of the city more generally. The re-introduction of light rail into George St will see a welcome pedestrianisation, especially around the Town Hall, though the line itself will be run for profit, as a private concession.This paradox of public space and public spending runs right through the City of Sydney's plans for central public art, and throughout plans for the centre of the city more generally. The re-introduction of light rail into George St will see a welcome pedestrianisation, especially around the Town Hall, though the line itself will be run for profit, as a private concession.
We are generally pleased to monumentalise in the form of traditional statues, like the entirely uncontroversial, appropriate statues of soldiers at the Anzac bridge on Glebe Island. But the notion of using public space for art that does not fit an existing national mythos has us backing away. If the art in its own right is to be appreciated, can't it be appreciator-pays?We are generally pleased to monumentalise in the form of traditional statues, like the entirely uncontroversial, appropriate statues of soldiers at the Anzac bridge on Glebe Island. But the notion of using public space for art that does not fit an existing national mythos has us backing away. If the art in its own right is to be appreciated, can't it be appreciator-pays?
The use of public money to "improve" and "revitalise" areas is standard fare for Australians. We're less satisfied when public money is spent to serve ends that don't run on nice clean rails, or look good in architects' drafts: public housing, public unemployment support, council social services. I'm certain that in the new square underneath Sydney's arch, there will be no shortage of CCTV cameras, uncomfortable furniture to discourage rough sleepers, and security guards.The use of public money to "improve" and "revitalise" areas is standard fare for Australians. We're less satisfied when public money is spent to serve ends that don't run on nice clean rails, or look good in architects' drafts: public housing, public unemployment support, council social services. I'm certain that in the new square underneath Sydney's arch, there will be no shortage of CCTV cameras, uncomfortable furniture to discourage rough sleepers, and security guards.
We are even comfortable with art and decorative practice forming a central part of the way we live in suburbia. The well-loved Federation and art-deco styles rested on the use of decoration and Australiana. Since the post-war, immigrant families from the Mediterranean have been notorious for "Fedeterranea", the people's architectural school of concrete lions, fountains, white columns and tiles. There's a giant, and growing, market for the DIY architecture of feature walls, garden ornaments and landscapeism to which Bunnings and television shows like The Block cater.We are even comfortable with art and decorative practice forming a central part of the way we live in suburbia. The well-loved Federation and art-deco styles rested on the use of decoration and Australiana. Since the post-war, immigrant families from the Mediterranean have been notorious for "Fedeterranea", the people's architectural school of concrete lions, fountains, white columns and tiles. There's a giant, and growing, market for the DIY architecture of feature walls, garden ornaments and landscapeism to which Bunnings and television shows like The Block cater.
Perhaps the only unalloyed public good to come out of the plans for Sydney's arch, it's that the editors of the Daily Telegraph will be thoroughly trolled, and by the lord mayor at that, a master of her art. But while we can celebrate for a while, it's an ephemeral good that won't endure. The peculiarly Australian cringe against public art, which is much less an artistic or architectural response than an economic one, is against art that comes from taxpayers. Perhaps the only unalloyed public good to come out of the plans for Sydney's arch is that the editors of the Daily Telegraph will be thoroughly trolled, and by the lord mayor at that, a master of her art. But while we can celebrate for a while, it's an ephemeral good that won't endure. The peculiarly Australian cringe against public art, which is much less an artistic or architectural response than an economic one, is against art that comes from taxpayers.
Sure, let's talk about whether the Sydney sculpture is any good or not (my own view is that I actively, sincerely, having given it thought, don't care). But let's separate aesthetics from our increasing unwillingness to actually entertain public spending on public goods.Sure, let's talk about whether the Sydney sculpture is any good or not (my own view is that I actively, sincerely, having given it thought, don't care). But let's separate aesthetics from our increasing unwillingness to actually entertain public spending on public goods.