Chapter 8: 1959, Laying the First Stone and the Death of Cahill
Joe Cahill's perception that Sydney Opera House was still in jeopardy in 1959, was only confirmed by the state elections on March 21. Labor was barely returned to power, reflecting swings toward Liberal and Country Parties. It was clear now that Cahill's insistence on beginning construction was politically shrewd despite the concerns of Ove Arup and others that it was all too early.
Three weeks before the near defeat, on a chilly Monday afternoon, the "ceremony to commemorate the commencement of the building of Sydney Opera House" took place on Bennelong Point.
Utzon brought with him in his luggage the inaugural plaque that Cahill could lay in place. Weeks before, Cahill's office had requested Utzon design one. He gave the task to Yuzo Mikami who suggested locating the plaque at the intersection of the axes of the two halls.
From this single position you can look at both halls head-on, a unique reference point in the geometry for the building as a whole.
Utzon had the plaque made at the Helsing�r Shipyard where his father had been director; and when finished, it skilfully reflected the craft approach of the Danes.
On that windy day, using the hand-crafted screwdriver and fixing pin, Cahill sealed the plaque in place. Davis Hughes, then leader of the Country Party, sent his deputy, Charles Cutler to speak in support of the opera house project alongside others, and there was music.
Across the world in Helleb�k, Utzon's office sent him a cable of congratulations as his staff sat in the sunshine around a specially decorated cake of Mikami's design.
The formidable printed program for the ceremony, which became known as the Gold Book, includes comments by many of those who had in some part made the opera house a reality. Even in 1959, Davis Hughes would have a prominent position, third after Cahill and before the Leader of the State Opposition. It is symbolic of an important moment in the story and the journey from idea to reality.
Here, at the end of the 1950s, we see the first physical realisation of the now decade old idea, and both the optimism and inertia that characterised Australia's desire to join the world stage.
Sydney Opera House would in the words of Cahill, "Stand not merely as an outstanding example of modern architecture, or even as a world famous opera house, but as a shrine in which the great artists may display the flowering of Australian culture."
Eight months later on October 22, Joseph Cahill became ill at a Caucus meeting in Parliament House and died that day.
Given the enormous contribution he had made, the death of Cahill, the original owner of the project, would inevitably change its character.
From his deathbed, Cahill asked Norman Ryan, his Minister for Public Works, to promise not to let the opera house project fail. Ryan, who by his own admission claimed not to understand the Opera House, would struggle to properly manage the enormously complex building project ahead.
Despite this disruptive ending to the 1950s, in Helleb�k, Denmark and in Fitzroy Street, London architects and engineers were busily contending the the challenges and complexities of the next two stages.
