The Lubbock Opera House--a study in associationism

My motive for writing a thesis that frankly advocates a return to history for architectural inspiration is simple. I am not often enough inspired by contemporary architecture, much of which seems to be less than alluring, whatever its other qualities may be. What is worse, I believe I am far from alone in my alienation. As Gerald Graff said in his preface to Charles Newman's excellent book, The Post-Modern Aura. "in the new situation of contemporary culture, the real problem is no longer public repression of advanced art but public indifference. "- I believe, as Newman said, that this country is suffering from an "abandonment of traditional American aesthetic pragmatism."2 I offer a simple, old-fashioned solution: namely, the frank return to a use of historical architecture to help make our art an emotionally satisfying experience once again.

The reasons for designing an opera house to demonstrate this thesis are equally simple. My life in Europe and marriage to an opera singer brought me an awareness of the sheer joy of opera and of the desire of young singers to learn their art at home in America. For American singers to practice their craft here, however, will require support for the arts from a much more sympathetic and supportive public. I truly believe that many more than the typical one percent of the population could be convinced that high culture is wonderful--not something to be endured or avoided--if architecture (along with all the other arts) would do its part in enticing the public into experiencing the gorgeous richness of one of humanity's artistic triumphs. An architecture of engagement would be nowhere more helpful and even necessary than in designing a provincial opera house.