2011
2040
Cinema of Remembrance
FIRST AUSTRALIA FILM SHOT & SCREENED IN COLOR FIRST REGULAR FREE-TO-AIR TV TRANSMISSION
FIRST CINEMA BUILT IN AUSTRALIA
VHS VIDEO HOME SYSTEM
IPHONE
2010
28,400 2011
2016
20,119
22,216
2031
2026
2021
23,465
Projected job growth
CINEMA ADMISSIONST HIT 110 MILLION
2021
2016
12,399
2026
16,888
16,078
2031
18,033
19,161
30 38
22,000
living by themselves
who live in the municipality 5 years ago
48
speaking a language other than English at home
DVD
mid-1980s until around 2000, new screens were built with smaller seating capacities in multi-screen complexes in suburban and regional shopping centres, especially by the incumbent major exhibitors Hoyts, Village, Greater Union and Birch Caroll and Coyle.
2040+
Projected residential population growth
18
‘There is an inextricable link between film and architecture. Like film, architecture can be perceived as fragmented, mediated space. Although an observer may take any chosen path through a building, the viewer generally follows a predetermined route. A reality is proposed and the imagination is left to fill in the gaps. Designing space can be likened to script writing: Space us conceived as sequenced of episodes which build a suspense and a chain of events…Spatial Montage.’
BROADBAND INTERNET
COLOR TV BERAMAX
Suburbanization – from the 2011
Montage (Space & Circulation)
2040+
25,557
23,884
My thesis design for a new Design Hub with Cinema, Art House & Film School Complex explores the sensual experience of film and its relationship to a dynamic architecture. The scheme comprises a major new arts and heritage project, designed to provide the Australia with a unique, world class facility for the enjoyment and appreciation of film/television culture.
69
Event – Amalgamated Holdings (Event Cinemas), in
Diversification – in the
2000s, the expansion slowed but a wider range of cinema types and experiences were offered to audiences. the national art chains Dendy (now owned by Icon) and Palace, and mainstream independents such as Wallis in South Australia, Cineplex in Queensland and Majestic in NSW, built new complexes, renovated and expanded old ones, and acquired some from the majors.
people aged between 18 and 44
born overseas
IPHONE
late-2010, said its cinemas were in ‘mature markets with limited growth and expansion opportunity’. Village Roadshow told shareholders in November 2012 that theme parks, not cinemas, were the company’s ‘new foundation business’.
Aura (Function)
‘…the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera. Consequently the audience takes the position of the camera; its approach is that of testing. This is not the approach to which cult values may be exposed.’ East Elevation 1/500
South Elevation 1/500
Mystery & Memorial (Architecture Expression Language)
South Elevation 1/500
‘Until a decade or so ago, the Carlton Brewery topped Swanston Street, while the opposite view was framed by the Shrine of Remembrance. The prominence of these two secular shrines was emphasized by journalists and other pundits, anxious to portray the Southern capital as a down-to-earth metropolis, defined by an idiosyncratic mixture of pleasure and solemnity. That Melbourne’s main drag was topped by a brewery is more than a cultural talking point. Breweries became part of Melbourne’s identity partly because they have been around for so long. Brewing has a strong claim to be the first largescale manufacturing industry.’
West Elevation 1/500
Client: Design Hub - RMIT Researchers & Thesis Students Cinema Memorial - Free to Public Art House - Film Producer School of Film and Television - VCA Students
26
6
21
21
19 7
21
21
7
30
2
22
1
18
26
27
7
29
20
2
2
19
1
Total Area: 27,000 sqm
28
2 2
Structure Diagram
19 19
20
realm
Central City
Artists are able to present, work and live in the City of Melbourne.
SPACES
preCinCt ConneCted to the
ART STRATEGY
ACTIVATION
Artists are able to activate the public realm.
integrate the area's heritage
support a Culturally and
into urban renewal
soCially engaged Community
HERITAGE
regenerate the area's publiC
2-3
$7 million investment in arts and culture, supporting 144 organisations, involving 14,584 artists, creating 8,638 events, attracting audiences totalling 5,039,564 people, of whom 4,059,739 attended free events, and 979,825 paid for tickets
CONNECTION
Cultivate a vibrant and distinCt
3t
2
Equivalent Full Time Students Load (EFTSL) Music
2008
Art
Perf
FTV
2009
1321 1370
2010
1674
More than 80% Victorians experience the arts at least once a year
In the future, VCA will split into two schools, School of Art and School of Film and Television. And School of Music will as a single school, called Melbourne Conservatorium of Music. An operating plan and staffing profile could be developed to advance to a best-in-class environment
15%
53%
‘There aren’t too many public spaces in Melbourne where you can just go on a weekend with your family and be immersed in free art.’ ‘Subsidised square metres for artists, and commercial spaces be placed together to ensure a mix of different groups and to get more people in the arts’ ‘Would be nice if the precinct allowed for smaller performance
35 32
17
16
1 7
8
7 7
19
15
2-2
14
7 19
7 1
1 13
25
7
19
7
7
25%
36
23
26 14
12
5
24
spaces and made it easier for smaller groups to hang out’.
2 16
2020 Planning Student Percent of the Total
2010 Student Percent of the Total
8
2
7
9
9
9
2
7 1
30
10 23
9
5
7
19 14
Level -1 1/500
CUB Surround Environment
North Art Precinct Potential Organisations
5
35
11
2
North Art Precinct Street Type & Boundary
35
19
7
25%
6%
6
19
3
22%
7
7
33
15%
35%
6
30
24
of studio practise and research.
‘We need independent art and affordable, accessible spaces.’
31
19
31
1
Artists are able to explore, interpret and reinterpret the city’s heritage in dynamic ways.
30
2
6
6 8
Artists and audiences are able to engage with each other.
2
21
Level 3 1/500
23
2
21
19 21
7
37
21 2
14
20
2 39
2
10
39
7 7
14
34
7
11
2
16
35
8
35
2
7
40 39
6
39
6
9
6
2
7
6
7
8
34
18
8
6
8
6
35
8
18
35
38
38
1 7
8
3
41
7
14
5
16
7
10
Main Entrance Pespective
11
2
2-1
24
14
16
23
5
1 7
24 35
9 8
4
6
1
8
4
3
3
4
2
24 7
5
2 1
57
5
4 5
6
1
1
Level G 1/250
1-1
Level 2 1/500
6
Level 4 1/500
N 1. Design Hub 2. FTS 3. NGV 4. City Bath
1. Design Hub 2. FTS 3. NGV 4. City Bath
5. RMIT Gallery 6. RMIT Exhibition 7. Art Market 8. Art House
5. RMIT Gallery 6. RMIT Exhibition 7. Art Market 8. Art House
Rest Seminar Room Media Room Archive Open Office Independent Office Storage Communication Room Independent Studio Open Studio
11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
Garage Entrance Tech Office Equipment Borrowing Administration Print Room Reception Wardrobe Café Mech. Main Stage
21. 22. 23. 24. 25. 26. 27. 28. 29. 30.
Classroom Motion Capture Studio Exhibition Lobby Shop Theater Makeup Dress Room Prep Stage Control Room
31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41.
Art House Event Perspective
Edit Suite Sound Studio Computer Lab Walking-in Cinema VRC Immersive Theatre Workshop Machine Room Library Artist Apartment Celebration Roof Celebration Bicycle Storage
ART HOUSE 3 500 SQM
CINEMA 3 500 SQM
Required Area
Level 1 1/250
9. Theatre 10. Artplay 11. Live Music
FILM SCHOOL 11 000 SQM
26 500 SQM
9. Theatre 10. Artplay 11. Live Music
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
DESIGN HUB 7 000 SQM
Program Distribution
Autonomic Circulation
SWANSTON ST.
BOUVERIE ST.
QUEENSBERRY ST.
QUEENSBERRY ST.
Section 2-2 1/250
SWANSTON ST.
T. HS
BOUVERIE ST.
ET AB
IZ EL
Section 1-1 1/250 VICTORIA ST.
Lane Cutting through Site
Void and Access
Shape General Arrangement
Facade Material Range
Public Circulation through site
VICTORIA ST.
T.
S RY
R HE
T
. ST
ON ST
. ST
AN SW
TH
BE IZA EL LIN
. ST
NK
A FR
A
TT
KE
C 'BE
. ST
N
Master Plan 1:2500
Public Function Accessable
View Walking From Victorial Market
Design Hub Lobby Perspective
Section 2-1 1/250
School Lobby Perspective
Section 2-3 1/250
Cinema Lobby Perspective