The Art Of The Possible
|It is not an exclamation point, it is a comma.|
|/ Jack Diamond, Diamond + Schmitt Architects|
By Jakob Harry Hybel
The pressure was on Saint Petersburg’s recently completed Mariinsky II, right from the project’s infancy. As the first major opera house to be build in Russia since the time of the tzars, it was meant to usher in a new era in Russia’s second largest city and solidify its position as the country’s cultural capital. Yet no-one could foresee the countless controversies that were to follow.
It only gradually became clear, as one architect after another came and went, the budget skyrocketed and the construction difficulties piled up, that the Mariinsky II was probably not destined to fulfill its initial promise of greatness. Now, some three months after its opening, the public verdict seems to be in – and it is indeed almost entirely unfavourable.
You can ask pretty much anyone in Saint Petersburg and they will have an opinion on their new opera house. The glass shoe-box it has been called and it is either too modern or not modern enough, depending on who you ask.
But let’s wind back and start at the beginning. The controversial story of the opera house began over a decade ago, when California architect Eric Owen Moss was asked to design a new building across the canal from the old Mariinsky, a pale-green Neoclassical building dating from 1860, by the theater’s artistic director, Valery Gergiev.
After a great deal of political tug-of-war, however, Gergiev was overruled and an international competition held. Renowned French architect Dominique Perrault won with a spectacular design which locals nicknamed “the golden potato” and critics deemed too flamboyant and outlandish in a city known and admired for the consistency of its Neo-classical buildings. As it turned out, it was also entirely unbuildable as Saint Petersburg’s soft soil could not hold its weight. So ultimately, Perrault’s design had to be abandoned, despite the fact that its construction was well underway.
Another competition was hastily organized, and this time the commission fell to Canadians Diamond + Schmitt with a proposal closely resembling their Four Seasons Centre for the Performing Arts in Toronto. They were, however, forced to implement several elements already constructed on the site into their design.