COMM 2411 DESIGN Collaborated by: Alex Nugent: s3283416 Bhavna Tolani: s3245375 Erni Wijaya: s3231067 Jenny Mounas: s3290836 Shuwen Wong: s3262055
I. Federation Square
What better way than to commemorate a country’s centennial nationhood by giving one of its central business districts a facelift with a structure designed to encapsulate the kaleidoscopic cultures and heritage, capturing its distinctive landscape of the desert and simultaneously making it a space immersed with festivals and entertainment? Despite it being voted one of the ugliest buildings in the world, the ostentatious Federation Square speaks metaphorically about the city. Through its gaudy and seemingly cavalier presence, it murmurs to its audience all that is authentically Melbourne. Many symbolic features were incorporated into the design of the Square, but how does a structure of regular raw materials translate the importance of culture, heritage and explores even further than that? The Square is accessible from all four corners of the street. It exudes indescribable warmth, a welcoming presence; very much like the hospitable Australians. Its odd design, synonymous with individualism that the locals are so fond of, is enough to kill the curious visitor, and one would be bound to step inside to explore its splendor. The expansive plaza paved with Kimberley sandstones of rich reds, maroons and gold (Hamilton 2003, p. 3), signifies the desert of Australia (Dovey 2005, p. 103) and the
undulating surface of the plaza creates the illusion of sand dunes. Furthermore, the paving is designed as a huge urban artwork known as Nearamnew that works as a cache that stores the nine ground figures and nine visions that merge into one another. As you walk, poems of forgotten language speak to you from beneath your feet. As Rutherford1 (2005, p. 12) argues, ‘it is a strangely joyous promise of a different kind of locality and a different way of thinking, writing and speaking into the impasses of Australian place’. The Federation Square is a mixture of conservative and contemporary design. It is not merely a place built for the convenience of people meeting up, it is also the old Melbourne meeting the new. It is not just a place for entertainment and activities to be held, it is where lost cultures are preserved and reignited. The Square is an integration of all things Melbourne, and the symbolic meanings manifests within the design itself.
References: Booz Allen Hamilton, ‘Federation Square: A Case Study in Architectural Design’, Dandolopartners, Victoria. Dovey, K 2005, Fluid City: Transforming Melbourne's Urban Waterfront, UNSW/Routledge, Sydney/Oxfordshire. Rutherford, Dr Jennifer (2005) Writing the Square: Paul Carter’s Nearamnew and the art of Federation, in Portal: Journal of Multidisciplinary International Studies. Special Issue: Strange Localities: Utopias, Intellectuals and Identities in the 21st Century.
II. Southern Cross Station
Southern Cross Station, which will be discussed with reference to the design discipline, was previously know as Spencer St Station has undergone a 300 million dollar (Skene, 2007) renovation over the past couple of years and the new design is eye catching, modern and supposedly Melbourne. As a design, intended to represent the city’s futuristic outlook, this is flawed, as what it ended up doing was painting Melbourne as wasteful and not green conscious when all over the world new railway stations are made with solar panelled roofs and are self sufficient. Melbourne finds itself with a wavey roof, which collapses with torrential rain and collapse[s] (The Age, March 6, 2009). Arguably Melbourne’s main transport hub, the station connects the inner city with the outer suburbs with a bus terminal, v-line train stations as well as housing Metro’s train network. The station communicates consumerism with a shopping centre situated in the enormous train station, futuristic glass and metal design may look appealing and modern, but as a communication artefact, it fails to promote Melbourne as the positive, urban environment it really is. The concept of Southern Cross station as a transportation hub with over 60,000 commuters using it each day (Skene, 2007), acting as a microcosm of Melbourne highlights the materialistic driven and future focused aspects of the people and the town. With the shopping centre situated within the station allows the station to actually become a trading centre. As a city that prides itself on being liberal
politically, one of the strongest Labour voting states, would be more environmentally conscious in a ‘Climate Change’ dominated age. However even in one of Melbourne’s key transportation hubs lies a 800 bay cap park, which undermines the government initiatives to produce a ‘green’ car and meet with Kyoto standards. The renovations of the station shows Melbourne’s push towards the future, as not unlike Federation Square, the city strives to find its own identity and place. To compare the station to Flinders Street Station, with it’s old clocks, archaic design, Southern Cross Station appears to be from another world. Flinders Street has food stores, for the guilty snacks of the people heading home from work, whilst Southern Cross houses a shopping centre, comprising of over 30 stores. Where Flinders Street has bricks, Southern Cross has metal. Where Flinders has tin, Southern Cross has glass. This exemplifies not only Melbourne’s attempt to recreate itself, to become more and more like Hollywood’s image of the future, but this is also mirrored throughout the world. As the world becomes more global, we see cultures blur, privacy forsaken and the rise of consumerism, all of which Southern Cross Station represents. The homely and warm aesthetics of Flinders Street juxtaposed by the cold and corporate image of Southern Cross outlines the very real and imminent social change we will face.
References: The Age, 2009, ‘Storm causes mayhem’, The Age, 6 March, viewed 7 April 2010, www.theage.com.au. Peter Skene 2007, 'Southern Cross Station', Southern Cross Station, vol. 1, no.1, pp. 1-7. Wilfred J. Ethier, Elhanan Helpman, J. Peter Neary, 1995, Theory, Policy and Dynamics in International Trade, 1st edn, Press syndicate of the University of Cambridge.
III. Eureka Tower
Dominating Melbourne’s CBD (Central Business District) skyline, the Eureka tower’s design (completed June 2006) not only signifies one of Victoria’s chief history i.e. Eureka Stockade rebellion (1854) but the juxtaposition of the tower amidst the CBD’s background establish Melbourne’s urban modernity. One of Melbourne’s many architectural progression, at first glance the 984ft tall structure might awe its viewers. Nonetheless the same goes with Melbourne’s other modern architectures such as ‘Federation Square’ and ‘Southern Cross Station’. It is the tower’s feasibility for Melburnians, which would distinguish it as a strong Melbourne’s ‘intellectual brand’. (Donald & Gammack, 2007) Rushing up to the 88th floor in less than a minute you are brought to their observation deck. Through the Edge’s glass cube viewers experience a 360 degrees cinematic view of Melbourne. From the highest public vantage point Melbourne unveils its ‘secrets’. From the outlines of the Hoddle grid, narrow laneways loses its mystery. The illusion of a separate world vanishes; the laneways blends with the city unnoticeably developing the present Melbourne that we live in.
Designed to stand tall and relate with Rialto Towers as sentinels to Melbourne’s river its strong profile, luxurious face, and environmentally sound design structure defines one of Melbourne’s unique precinct. Southbank- made up of a populated community of diverse cultural backgrounds, interests and fields of work (City of Melbourne, 2006) Nonetheless there were debates whether the design contradicts Melbourne as a place of ‘hidden beauty’. Critics might say that the tower stands out so much that it seems to detach itself from the city. Dr. Wyatt expresses his concerns of the ‘legitimacy’ of the design. ‘Melbourne’s policy formulators are as keen, as wide-awake, and articulate as will be found anywhere’ (Dr. Wyatt, 1978 p.p 1). However, questions of whether the design is relatable to Melbourne’s population were highly controversial. Voted the ‘Most Livable City in the World’ twice in the last four years by various international travel agencies Melbourne has a reputation of a pre-eminent global city (City of Melbourne, 2006). On the other hand, it has also been mentioned as one of the world’s most expensive cities to live in. One might censure that this might derive from the Tower’s exclusivity. It created separate identities in Melbourne’s communities. Designed to be an ‘architectural practice’; the design brief by Grocon (the constructor), Tab Fried (a Melbourne investor), Nonda Katsalidis and Karl Fender (the architects) claims to defy the regular boundaries of a normal building. The experimental development acknowledged the need of high density living and is highly regarded for it (Australian Institute of Architect, 2007). The question of whether it provides sustainable living for Melbournians, is still unanswered.
References: Australian Institute of Architect, Australia, viewed 24th May 2010, from http://www.architecture.com.au/awards_search?option=showaward&entryno=200703 0307 City of Melbourne 2006 (Precincts and Suburbs Section), Suburb Profile: Southbank City of Melbourne, Melbourne Australia, viewed 17th April 2010, http://www.melbourne.vic.gov.au/AboutMelbourne/PrecinctsandSuburbs/suburbprofil es/Pages/Southbank.aspx Donald, S, Gammack, J.G 2007, ‘Branding the City’, in Tourism and the Branded City: Film and Identity on the Pacific Rim, Aldershot, England; Burlington, VT : Ashgate, p.p 45- 49 Dr. Wyatt, R.G 1978, ‘ Melbourne’s Metropolitan Strategy: The Search for Legitimacy, research paper no. 35, University of Melbourne, Melbourne, p.p 1- 20
IV. Graffiti
The presence of graffiti in Melbourne’s art culture has existed since the early 80’s. Melbourne has then progressively become a well-known graffiti city of Australia and thus it is undeniably that graffiti is becoming one of major tourist attractions in Melbourne. They are mostly found in laneways and back alleys such as in particular Hosier Lane, and others such as Flinders St Lanes, Centre Place, Little La Trobe St, Duckboard Place, and Fitzroy. Hosier Lane is really a ‘beautiful mess’ for those who have ever witnessed its creation. It has become a vivid canvas for those wanting to express their ideas and thoughts through tools of graffiti. Some could even call these walls of the laneway the voice of Melbourne. This way of protest culture created by urban artists is effective and can even be called striking for capturing viewers’ imaginations with their political and social messages (Stewart, J 2008). In the past, the rich used graffiti as a mean of advertisement while the poor used it as a mean of a fight. This shows the political use of graffiti is able to show people’s difference in personality and therefore in the identities as well as their demands or the challenges they are facing. It can be seen that street art might be also used as an act of violence and it is interesting in that this symbolizes that graffiti more than just a ‘work of art’, but it is able to make a group of people feel violated. Furthermore, these artworks on walls are also used to create
particular claims of ownership. Such use of graffiti is able to convert space into one’s own territory through gestures and evoking of violent expressions. (Tonkiss, F 2004). Many say that graffiti in Melbourne is unique in term of design so it will be an advantage if Melbourne authorities preserve and give more support to local graffitists. It also helps to promote Melbourne as a rich city of art forms thus its art design is worth publishing. While on the other hand, some might see graffiti is a negative art form that only destroys the city value and consider it as merely vandalism. Mr Hilditch, the head of not-for-profit group Graffiti Hurts Australia, mentions that there is no any good point allowing graffiti in certain laneways even if it may be a tourist attraction. He also adds illegal graffiti is costing Australian taxpayers hundreds of millions of dollars a year to clear up the area. (Trembath, B 2009). Graffiti adorns many of the laneways walls in Melbourne CBD that certainly entices everyone in and attracts publicity and people, including tourists. It is, in fact appreciated by wider audiences since Melbourne is only among few cities around the world that has great development of street art such as a wide range of genres for instance throw-ups, stencils, murals, stickers, posters, plaques and sculptures.(Lunn, M, 2006).
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References: Lunn, M 2006, Street Art Uncut, Craftsman House, Victoria, Australia. Tonkiss, F 2004, ‘Urban Cultures: Spatial Tactics’, in Jenks, C Urban Culture: Critical Concepts in Literary and Cultural Studies’, Routledge, New York, pp. 236248. Trembath, B 2009, ‘Graffiti-buster combs Melbourne's laneways’, viewed on 12 April 2010, <http://www.abc.net.au/news/stories/2009/04/13/2541339.htm>. Stewart, J 2008, Graffiti Vandalism? Street art and the City: Some considerations, UNESCO Observatory E-Journal, Vol. 1, No. 2, October 2008
V. Laneways
Melbourne’s laneways effectively communicate as a media artefact, and depict the city as a unique place. One of the most renowned laneways is the Central Place Laneway, located just off Flinders Lane.
Various laneways are hidden
throughout the city: they are places that ‘invest the city with idiosyncratic style and character’ (Rhodes 2010) and many tourists and locals alike find themselves immersed in these laneways. Being in a laneways alludes to being in a “hidden world”, and this idea, essentially, is what draws people to visiting the laneways. Typical features of Melbourne’s laneways include street art, or graffiti, coffee shops and boutiques, suitable for a ‘cavalcade of characters’ (Rosenthal 2005, p58). The street art is arguably of the most recognized features of the laneways in Melbourne, and is admired by many. Originating in the 1980s after it was seen on MTV from New York hip-hop music videos, street art influenced many young Melbournians to take up “decorating” the city with their own form of street art. These people had ‘a thirst for new ways to express themselves’ (Curilo, Harvey, Stamer 2009). They did so at various locations throughout not only the city of Melbourne itself, but in the city’s inner suburbs too, particularly in St Kilda, Richmond and Collingwood.
The street art found in the laneways communicates an inclusion of everyone – those on the outskirts of society and those heavily involved. Stereotypically, street art is associated with people who may be engaged in other minor crimes. Essentially, street art does not have many positive connotations to its name. However, being a major draw card in the laneways, and as a result, this decreases street art’s tarnished reputation. Melbourne is a city that thrives off its “coffee culture”. Coffee shops, cafes, even fast food outlets, all sell coffee. This association linking coffee to Melbourne is depicted in Melbourne television programs, such as Underbelly, and it is very rare, when walking through the streets of the city of Melbourne, to not see someone holding or drinking a coffee. This has been recognized and used to promote the city. Melbourne’s laneways are lined with coffee shops, each providing what they believe to be the finest coffee, and each selling endless cups of coffee throughout the day, to both locals and tourists. The laneways evoke a sense of superiority to the people in there, who feel as if they have uncovered a great, hidden treasure when they are in the laneways. This communicates the city of Melbourne as a “hidden treasure”. In a sense, it defines how what Melbourne has to offer is covered by the “flashiness” that Sydney emits.
References: Curilo, D; Harvey, M; Stamer, K 2009, Kings Way, The Beginning OF Australian Graffiti: Melbourne 1983-93 (Chapter: The Writing Scene) 1st Ed. The Miegunyah Press, Melbourne Rhodes, J in press, ‘Landscapes of Desire’ Til You Drop Shopping: A Melbourne History, viewed 9th March, 20th May, 2010 Rosenthal, L.S 2005, Schmattes: Stories of Fabulous Frocks, Funky Fashion and Flinders Lane, (Page 58) 1st Ed. Shannon Books, Australia