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DESIGN CAITLIN CALDWELL (3195851) BETHANY MANNING (S3285392) ISABELLA CARUSO (S3283041) TERCES POK FONG PING (S3262037)
ASSESSMENT TASK 3 COLLABORATIVE GROUP PUBLICATION COMM2411 - B. ROSENBERG COMMUNICATIONS & SOCIAL RELATIONS
ARTEFACT 1 – ‘MOVING MELBOURNE THROUGH ART’ CAMPAIGN Caitlin Caldwell (3195851)
Where the walls of Melbourne’s infamously deplored
The campaign performs as a representation of
public train system were once littered with scrawled
the psychological dimension in which personal
vandalisms or, in more recent years, advertising
and collective relationships engage, instead of
space warning commuters about the supposed
simply encompassing the purely geographical
‘karma’ of fare evasion, decal stickers of poetry from
and environmental dimensions of shared common
professional and novice poets are affixed on over
ground. The poems beckon strangers to share into
forty trains travelling daily throughout the City Loop
the private lives of the people of Melbourne, to
and extending lines. Initiated in 2005, the ‘Moving
experience not only the city, but to feel its pulse
Melbourne Through Art’ campaign publishes verses
and understand it with all of their senses, collectively
from a distinctly humorous Australian perspective
defining an inclusive city. As in the example of
of rooku poetry, personifying Melbourne’s cultural
Phillips’ case (1989), it provides a viewpoint of
identity and engaging a diverse audience in the
design operating on a complex interdependent
intimate narratives of its social relations.
level as an exploration of local, social and cultural concepts that create dialogue within individuals
As the 5pm shuffle of tired feet cram into the
and communities and blurs the boundaries
overcrowded trains to return to the urban sprawl,
between private and public domains.
distractions of muffled music from iPods, the shuffling of the pages of the MX or vacant stares
Within this shared realm, people move in, out and
out windows of rushed scenery busy the weary
around the city, exploring not only the physicality of
commuters dreaming of home. In this common
the urban environment, but the personal narratives
space of public domain, interaction is extraordinary,
of those who inhabit it, telling the intimate stories
with tight-lipped smiles and averting eyes creating
of individual lives and establishing an integrated
an environment apt for personal reflection and
relationship between the individual and the city.
private thoughts. In the ‘Moving Melbourne Through Art’ campaign, like the cases evidenced
Design has filtered into the culture of Melbourne and
by Sharp, Pollock and Paddison (2005), physical
firmly embedded itself into its artefacts, forming part
spheres and localities are blurred and attempt to
of the landscape, culture and identity of the city.
provide a sense of collective identity and ownership
Through the diversely influenced architecture such
for the city and its social relations, challenging the
as Her Majesty’s Theatre, the Museum of Chinese
idea of design and its aestheticisation purposes.
Australian History and protected sites of artistic expression such as Union Lane, we recognise the
The campaign represents the quintessential culture
cultural value and heritage of our city’s celebrated
of Melbourne, but is expressed intimately and
multiculturalism. As expressed by Wilson, design is
independently, avoiding the cultural domination of
about ‘creating an environment that people want to
identities commonly falsified by tourism and popular
be in, stimulating people creatively and intellectually,
culture. These personal narratives are designed to
providing new experiences and generally improving
activate and stimulate commuters’ daily travel in,
the liveability of the city as a whole’.
out and throughout the city of Melbourne, much as
(Wilson, 2009, p.2)
the eclectic architecture of Her Majesty’s Theatre and the Museum of Chinese Australian History and the graffiti of Union Lane does from an aesthetic perspective. As Sharp (2007) points out, ‘success in this context is getting a response, whether this is active involvement or just rethinking where you live, your neighbours and the community’. (Sharp, 2007, p. 288)
Daniel Bowen January 7, 2010
REFERENCES Phillips, P 1989, ‘Out of Order: The Public Art Machine’, the City Cultures Reader, Ed. M.Miles, T.Hall & I.Borden, Second edn, Routledge, New York, pp. 190 – 196. Sharp, J & Pollock, V & Paddison, R 2005, ‘Just art for just a city: Public art and social inclusion in urban regeneration’, Urban Studies, Vol. 42, Nos 5/6, pp. 1001 - 1023. Sharp, J 2007, ‘The life and death of five spaces: public art and community regeneration in Glasgow’, Cultural Geographies, Vol. 14, No 2, pp. 274 – 292. Wilson, M 2009, Melbourne: Design City?, course notes from Communication and Social Relations (COMM2411), RMIT University, Melbourne, viewed 22nd May 2010, RMIT University Learning Hub.
ARTEFACT 2 – HER MAJESTY’S THEATRE Bethany Manning (s3285392)
Since its creation in 1886, Her Majesty’s Theatre
Her Majesty’s Theatre has an interesting and unique
has stood tall and proud at its home on Exhibition
heritage; the designer, Nahum Barnet, was inspired
Street in Melbourne. With its central and accessible
by European designs from England and France
inner-city location, the theatre has proven itself to
at the time, so created this building which forms
be the ideal host for numerous world renowned
a marriage between the classic English style and
shows such as ‘Mamma Mia’ and ‘Mary Poppins’,
contemporary French design. The Victorian House
(Her Majesty’s Theatre 2009, History section)
discusses the ways that renaissance buildings
inviting tourists to come and watch whichever show
were typically designed and why decisions
is currently in season. The building itself is listed on
regarding different elements of this style have been
the Victorian Heritage Register and is just one of
incorporated into their buildings (Lewis, 1985). Her
the numerous examples of renaissance architecture
Majesty’s Theatre is also listed on the Victorian
that can be found in Melbourne (Historical Buildings
Heritage Register, which specifically outlines why
Council 1986, Statement of Significance section).
even the most intricate details were chosen when
Architecturally, its design was inspired by English
building this architectural masterpiece of Melbourne
and French renaissance buildings and has since
(Historical Buildings Council 1986, Statement of
become quite a well-known landmark within the city.
Significance section).
Architectural design in Melbourne City is an eclectic mix of both modern and period buildings that
Buildings such as Her Majesty’s Theatre are integral
enhance the city’s diverse and intriguing
parts of the city of Melbourne. Admittedly, it may
nature; transforming Melbourne into a world-
not be the biggest or most fancy building found
renowned city (Ashihara, 1983).
on our streets, but its story and history make it an appealing venue for shows, functions, events or even
The combination of buildings that have been
just visits. It is the landmarks within a city that make
around for centuries with modern, state-of-the-
it recognisable to the people who live within it and
art skyscrapers create a landscape in Melbourne
to others from all around the world (Ashihara, 1983).
that truly reflects the people found living within
The compilation of both old and new structures
it. Intelligent, independent, creative and unique
within Melbourne makes it the interesting and
people find themselves intrinsically existing in a
fascinating space that is quickly becoming widely
space that provides inspiration from essentially
recognised as a world-class city.
every standpoint. Her Majesty’s Theatre is just one example of the eclectic architecture found within the city along with structures such as the Museum of Chinese Australian History, which combine to create the diverse Melbourne we find ourselves a part of. If a city were to consist entirely of designs from the 19th and early 20th century it would look old and dated and if a whole city was made up of designs no more than ten years old it would seem dull, boring and lacking in history and character. Melbourne City has established a delicate balance in its design between the old and the new, buildings such as Her Majesty’s Theatre and the Museum of Chinese Australian History are daily juxtaposed with the contemporary graffiti that lines the walls of our laneways along with modern campaigns such as the ‘Moving Melbourne through Art’ campaign.
Rex Libris, July 8, 2008
REFERENCES Ashihara, Y 1983, ‘External Appearance in Architecture’, The Aesthetic Townscape, First edn, Iwanami Shoten, Japan, pp. 38-66. Her Majesty’s Theatre 2009, History, viewed 26 May 2010, <http://www.hmt.com.au/explore/history/>. Historic Buildings Council 1986, Statement of Significance, viewed 12 April 2010, <http://www.hmt.com.au/about-the-theatre/citations/historic-buildings-councilstatement-of-significance/>. Lewis, M 1985, ‘The Victorian House’, Irving, R The History and Design of the Australian House, First edn, Oxford University Press, Melbourne, pp. 64-86.
ARTEFACT 3 -THE MUSEUM OF CHINESE AUSTRALIAN HISTORY Isabella Caruso (s3283041)
The Museum of Chinese Australian History
There are various different sections of the city
celebrates the ethnic mix of Eastern Oriental with
that reflect both traditional and contemporary
Western European. In an attempt to treasure and
Chinese impressions, especially around the area
preserve this unique blend, the museum aims to
of the Chinese museum; there are strong flavours
educate both young and old of the history of the
of oriental architecture and design. Chinatown,
Chinese in Melbourne. In turn, the museum also
located on Little Bourke Street is one of the most
emphasises the distinctive recipe of oriental and
authentic Chinese places in Melbourne. There is
European architecture that exists on Little Bourke
such authenticity within that street that can be e
Street, otherwise known as Chinatown.
xplained by the isolation of the Chinese families when they first arrived in Victoria. These families
Multiculturalism, especially the Eastern influence
who arrived in the 1800 segregated themselves
that comes from China, is a massive element
from the white Australians and in turn, preserved
of Melbourne city life. Design is considered an
their own national traditions. Perhaps because of
expression of a situation, and the emigration of
this, there is today such a strong sense of Asian
Chinese people to Melbourne really furthered the
aesthetics embedded within our city walls, some
eclectic design of our city, just as the European
which date back to the 19th century.
origins influenced the cosmopolitan architecture of buildings such as Her Majesty’s Theatre. Situated on
This museum celebrates Australians of Chinese
Little Bourke Street, just off Swanston and Russell
descent and the mesh of multiculturalism that thrives
are imperial archways, which alludes to the Chinese
within Melbourne. As Bon-Wai (1993) considers, it
influence within the city of Melbourne. There are also
is this level of togetherness and unity of two very
two authentic, marble five-clawed Chinese dragons
different races, which helps to gives life and energy
outside the main entrance of the museum. As
to the city environment of Melbourne, just as the
Pegler (1995) discusses, the inclusion of the Chinese
‘Moving Melbourne through Art’ campaign generates
museum in the city, may possibly be one of the
social inclusion. Evidently, this combination of the
major benchmarks for what the Chinese Australian
East and West coming together can be symbolised
blend represents. The evidence of Chinese aesthetic
through the traditional Chinese architecture of
influence on Melbourne is said to have come about
the museum which is then juxtaposed with the
through the diaspora of Chinese Australians within
European buildings of Melbourne Central Business
Melbourne city. In relation to this, the museum of
district., including Her Majesty’s Theatre Traces of
Chinese Australian history attempts to educate
our Chinese Australian history are seen through
both the Chinese and Australian people about their
the four Imperial archways that lead to the Chinese
combined history. In doing so, they highlight the
Museum. The gold roofing of the grand archway that
oriental intricacies that appear on the streets of
leads off of Little Bourke Street is one of the reasons
Melbourne which are juxtaposed against sites of
for the architecture to be classed as Imperial.
subcultures such as Union Lane, and preserve the
This is because gold is the official regal colour. As
present multiculturalism of the two nationalities.
previously stated one of the many functions of the Museum of Chinese Australian history is to illustrate and conserve the long line of history of the Chinese community within Australia.
Prince Roy, October 27, 2005
REFERENCES Bon-Wai, C 1993, ‘The Chinese in Victoria: a Longterm Survey’, PhD, University of Melbourne, vi-xii, p. 165-176. Christine, I 1972, ‘Chinese in Australia’, International Migration Review, Vol. 6, No 3, pp. 266-281. Pegler, T 1995, ‘What has 160 legs and brings rain?’, The Age, 6 February, viewed 11 April 2010, <http://global.factiva.com.ezproxy.lib.rmit.edu.au/ha/default.aspx> Shatzman Steinhardt, N 2004, ‘The Tang Architectural Icon and the Politics of Chinese Architectural History,’ The Art Bulletin, Vol. 86, No 2, pp. 228–254.
ARTEFACT 4 - UNION LANE Terces Pok Fong Ping (s3262037)
Union Lane, located between Elizabeth and
Recently, Melbourne’s local government has formally
Swanston Streets and extending from Bourke Street
recognised the cultural significance of local graffiti,
to Little Collins Street, is set amongst the hussle
with Union lane considered a graffiti ‘tolerance zone’
and bussle of Melbourne’s Central Business District.
by the Melbourne City council. It is a public space
Frequently visited by tourists or acting as a shortcut
that has been aesthetically redesigned to project
amongst the maze of laneways for city workers
the quintessential culture of the new Melbourne.
trying to avoid the swarm of pedestrians and trams
The introduction of such zones have questioned
along Melbourne’s shopping district, Union Lane
the concept of artist originality and the lack of
has become the canvas for the City of Melbourne’s
projected messages other than the identity formed
Street Art Project. The development has transformed
by rivalry, pubic relation and advertising schemes.
what was once a ‘high profile location in the heart
As Heathecoate (2000) notes, graffiti is artistically
of Melbourne’s retail hub (which) was increasingly
underdeveloped, obstructing true creativity, with real
uninviting and heavily tagged’ (City of Melbourne
innovation criticised,
2010, Union Lane Street Art Project section). It now serves as a street art mural spanning 550 square
Just as the eclectic mix of architecture such as
meters on both sides of the lane and a constant
Her Majesty’s Theatre and The Museum of Chinese
reminder of the commercially celebrated
Australian History have proved of cultural heritage
subculture of Melbourne’s graffiti artists.
and significance to the city of Melbourne, sites such as Union Lane are forming part of the new
The Union Lane street art murals were first produced
urban landscape. Design is a powerful tool that is
in combination with professional street artists
challenging and transforming the notion of public
mentoring young volunteers over several weeks in
space and the local character of neighbourhoods
late 2007 and early 2008 (City of Melbourne 2010,
for the interest of an inclusive social relations for
Union Lane Street Art Project section). Like the
Melbourne. As Rice (2005) notes, the association
‘Moving Melbourne through Art’ campaign, the
between graffiti and ‘the remnants of the industrial
local government and city council has provided
age’, including building walls and hidden alleys were
ongoing support for encouragement of the creative
once associated with crime. The presence of design
industry and are seeking the inclusion of new works
has become popular for tourists and visitors, and
created by contemporary, well known street artists
beautifies the obscure laneways that form the urban
(City of Melbourne 2010, Union Lane Street Art
environment of Melbourne.
Project section). Ranging from the vandalism of scrawled tags to the talent of independent artists, street art is as diverse in its aesthetics as it is in its opinions, dividing the conservative and progressive; from pedestrians to politicians, with Union Lane now serving as a backdrop for many contemporary wedding photographs, as well as tourist snaps. The heated public discussions about the value of local examples of graffiti echoed similar debates about the place of live music in inner-city venues in Melbourne and Sydney (Homan, 2003).
f2g2, February 25, 2009
REFERENCES City of Melbourne 2010, Union Lane Street Project, viewed 12 April 2010, <http://www.melbourne.vic.gov.au/AboutMelbourne/ArtsandEvents/Pages/ UnionLaneStreetArtProject.aspx>. Homan, S 2003 ‘The Mayor’s a Square: Live Music and Law and Order in Sydney’, Context: Journal of Music Research, No. 26, Spring 2003, pp. 69-72. Heathcote, C 2000, ‘Discovering graffiti’, Art Monthly Australia (Canberra), September 2000, no. 133, pp. 4–8. Rice, J 2005, ‘21st century graffiti: Detroit tagging’, 1000 Days of Theory, td005, viewed 27 May 2010, < http://www.ctheory.net/articles.aspx?id=484>.