Shaping The City A Design Perspective
Shaping The City An Introduction
Melbourne is described as a cultured city, full of vibrant life and creativity. These attributes are reflected in the daily surroundings of the city – from the artistic laneways on Flinders, the intricate design of Federation Square, past the tall, thin gentlemen waiting to walk up Bourke St to the submerged Library on Swanston Street. Melbourne is a city created by design, waiting to be discovered. Melbourne is not just a location but also a representation of values and history that is communicated through the design of the city. The reinvention of Melbourne’s logo is an example of how the city’s brand has been reinvigorated to keep up with the ‘progressive personality of the city’. It was designed to reflect the core values of the city, proposing Melbourne as a ‘modern, vibrant, cool city’. The geometric design is common to both Federation Square and ‘Architectural Fragment’, and is inspired by the city grid. It is within city grid that design is brought to the streets. The tall, thin gentlemen lining up at Bourke St, invade public space, as does the ‘Architectural Fragment’ on Swanston, integrating design into lives of pedestrians. Interacting with these artefacts form experiences. Melbournians have the opportunity to express individuality through design as
can be communicated through areas such as Union lane, a public art forum. Architecture can be employed to communicate values and history, as is evident through the design of Federation Square and analysis of Melbourne’s skyline. Buildings will reflect the energy and vibe of the local culture, with trends following shifts in the social and economic status of the city. Melbourne is filled with innovative and creatively designed text and signage that invites the viewer to participate in delight and inspiration. Part of Melbourne’s identity relates to the design and the interpretation of objects in relation to what they are expressing, as Bruno Latour says “Design is more than the aesthetics, it is the meaning behind the object and the interpretation it incurs”.
“Cities are visible traces of the lives that are lived in them” — Leon van Schaik
Shaping The City The Artefacts
Union Lane
A Structure for the Future Federation Square
Bounded by Flinders, Swanston and Russell streets and located next to the Yarra River, Federation Square comprised of an array of various structures, buildings, restaurants, open spaces, and the wharf, with over 6 million people visiting annually. Situated above the busy railway lines Federation Square is constructed on top of a concrete deck and occupies roughly an entire urban block. The design by Don Bates and Peter Davidson of Lab Architecture Studio won out of 177 entries in an international design competition. The design, as Robertson (2003, p15) notes, provides ‘peepholes’ for tourists, which switch the spotlight onto other key monumental buildings in the city, attempting to provide a connection between the historical and post-modern elements of the current society. The free public screenings on the large, fixed screen are one of the components of Federation Square that assist in bringing the city together. Not only a tourist attraction, but also a key communication tool – the screen presents important issues that affect and interest residents and also unites the public in exciting events such as the soccer. Federation Square supports a number of cultural institutions, such as the Ian Potter gallery, and the design of the construction aims to reflect Australia’s multicultural origins. The interlocking triangles of the glass building create a feeling of unity from the smallest to the largest scale. The design of the atrium, with its geometric web of steel that interlock triangular panels of glass, reflects the diversity of our nation and ‘commemorates the coming together of a nation of so many different peoples’ (Robertson, 2003 p16). Federation Square, characterized by a ‘fragmentation of the spatial relationships of the modern city’ (Evans, 1997 p7), is a post-modern artifact that envisions the values that the city and its people place on ‘new and innovative forms of artistic and cultural expression as a mark of identity’ (p9).
A Structure for the Future Federation Square
Statistics presented by The Multimedia Screen Content Design Guidelines (2005) reveal that while over half of the squares visitors are local residents, 17% are international. The square not only aims to help distinguish Melbourne internationally and distinct from Sydney; its primary goal is to provide a cultural and civic precinct, bringing the people together in a communal space, a place of communication for a local audience. Historically as Melbourne attempted to differentiate itself from Sydney and divert some of the flow of global capital as it struggled to establish itself as a world city, the need for some new and invigorating monument for the city was evident. Federation Square exemplifies post-modern urbanism and fulfills the needs which led to the call for a ‘bold renewal’ of an apparent ‘antiquated, obsolescent city centre’, which in turn progressed the idea of constructing a new public square to reunite residents and tourists for the rebirth and re-emergence of Melbourne on an international stage (Evans, 1997 p12).
“As Melbourne attempted to differentiate itself from Sydney and divert some of the flow of global capital as it struggled to establish itself as a world city, the need for some new and invigorating monument for the city was evident.”
A Structure for the Future Federation Square References Robertson, P 2003, ‘Circling the square: Federation space’, Eureka Street, vol. 13, no. 3, pp. 15-16, viewed 30 March 2010, Informit. Evans, D 1997, ‘Federation Square: a long time coming’, Transition, nos 57-58, pp. 6-13, viewed 30 March 2010, Informit. Federation Square Management 2005, Multimedia Screen Content Design Guidelines, version 4.0, viewed 30 March 2010, <http://docs.google.com/ viewer?a=v&q=cache:oPBBWrAxc-0J:www.fedsquare.com/Docs/Multimedia%2520Scree n%2520Information%2520and%2520Content%2520Design%2520GuidelinesDecember% 25202005.pdf+federation+square+management+multimedia+screen+design&hl=en&gl=au &pid=bl&srcid=ADGEEShIPQFFJjkH7wfoV80FXJ1PKkPcT-EOk1H0EGV8wac5CBBTCOD2DX1bW61JY-s9euBOiBWKnIsruT49jrkYG5A9qjluDruP4iUFS9rtHdiEjFmNgb2totb7K47RMz5VT ou53Z1&sig=AHIEtbSOiBZT2z3hLLAOa1fk-T27RWptzA>
A Fragment in Time Architectural Fragment
This sculpture, a tribute of the Victorian era, depicts a library sunken into the ground and can be found just outside the state library at the corner of La Trobe and Swanston Streets. Named “Architectural Fragment” by sculptor Petrus Sponk, it represents a fragment of the library emerging from the pavement like an archaeological artefact. Inspired by the island of Pythagoras, as well as the Pythagorean theorem, it engages with the environment, visually connecting its surroundings through both form and material. Designed in 1992 and unveiled in 1993 as part of the Swanston Walk Public Art Project, Architectural Fragment is a landmark on Swanston Street that is hard to miss as pedestrians tread through one of the busiest streets in the Melbourne CBD. ‘Architectural Fragment’ is widely praised for its implied symbolism that warns us that “our civilisation, like those in the past, will inevitably become a dead fragment of its current self” – an archaeological piece for the future (Architectural Fragment, 2008, para. 2). There has however, been criticism that the sculpture was unsuccessful in portraying this message; instead representing itself as something that was buried in the past due to its neo-classical influence, attention to perfect geometry, and the use of latin typeface (Fellow Traveller, 2006, para. 3). It is argued that the fragment’s construction and focus on geometry is dated, and does not provide the sculpture with the longevity in which to support its claim of being “an archaeological piece for the future”.
“Our civilisation, like those in the past, will inevitably become a dead fragment of its current self.”
A Fragment in Time Architectural Fragment
However, the fragment’s focus on geometry in its design is well founded. Designs that rely heavily on angles, circles, polygons and tessellations have been translated over the years in various structures around the Melbourne CBD – most notably Federation Square, which was to be the focal and ‘entry point’ into the city. Melbourne is a city that prides itself on its city “grid” – a grid that is made up of a simple geometric shape and right angles. This grid has established a city centre that is ‘a symbol of urbanity, security and progress’ (Brown-May, 1998, p. 12). The fragment’s geometrical design accurately reflects the urbanity and style of Melbourne on both an aesthetic and interpretive level. ‘Architectural Fragment’, when viewed in the context of an extension of the State Library, presents the pedestrian with an opportunity to experience the sculpture in relation to the library as well as the city. “Nothing is experienced by itself, but always in relation to its surroundings, the sequences of events leading up to it, the memory of past experiences.” (Shin, 1999, p. 12) The retention of neo-classical design on the State Library makes instant visual relation to ‘Architectural Fragment’, enabling the public to “easily understand and identify their environment by providing language which everybody, who may not have contact with art in galleries, can immediately read.” In a city that prides itself on public art, be it sculptures, installations, or even grafitti, ‘Architectural Fragment’ is one of the many within the thriving arts and cultural capital that is built to interact and be experienced with its audience as well as its surroundings. Whether appreciated on its own or in relation to the city, ‘Architectural Fragment’ has certainly established itself as a memory of the past, a fragment from the present, and a piece of the future.
A Fragment in Time Architectural Fragment References ‘Architectural Fragment’, viewed 08 April 2010, http://www.emelbourne.net.au/biogs/ EM02053b.htm. ‘Architectural Fragment’, viewed 08 April 2010, http://melbourne.metblogs. com/2008/01/17/architectural-fragment/ Fellow Traveller 2006, ‘Architectural Fragment: A Vacant Spectacle of Simulated Death’, Mapping Melbourne, viewed 08 April 2010, http://mappingmelbourne.blogspot. com/2007/12/architectural-fragment-spectacle-of.html Brown-May, A 1998, The Desire for a City, Melbourne Street Life, p12, Australian Scholarly Publishing, Melbourne. Shin, D 1999, Public Art in the City of Melbourne - Its Typology and Planning, pp. 12-14, viewed 10 April 2010, Google Scholar, PDF.
The Picturesque Skyline Melbourne’s Skyline
The skyline – the fingerprint of a city, an urban silhouette – plays an important role in the communication and identification of a city. Being a recognizable feature and a symbol of the urban collective, it is used on multiple media fronts as an icon. “Melbourne’s skyline is in a transitory state, not yet a civic emblem” (Attoe, 1981, p. 7). From Melbourne’s 243 buildings, 236 contribute to the skyline, the tallest sitting just below 300m is the Eureka Tower (Cook, 2010, para. 3). Melbourne does not depend on a single natural or architectural feature but on the combined allure of many, framed by natural foliage representing an exciting, diverse and sophisticated city. From an international perspective Melbourne’s skyline is not symbolised by one recognisable landmark, but that is not to say it does not accurately reflect the city. Design is more than the aesthetics, it is the meaning behind the object and the interpretation it incurs (Latour 2008). The Skyline can be deconstructed to identify what is valued in a community; who is powerful; what the principal businesses are; which factors – social, political, economic have had the greatest impact on the city. Conversely cities can use their skylines to express cultural values and politics, in order to rebrand their community by creating the image of modernity (Ford, 1992, p. 186). This is evident in the formation of Melbourne’s skyline.
“Melbourne’s skyline is in a transitory state, not yet a civic emblem.”
The Picturesque Skyline Melbourne’s Skyline
Prior to the gold rush the city was mainly a country town, buildings were built hastily and not to last. The skyline was dominated by three main churches, which still exist today, symbolising the powerful position religion had in society. During the 1860’s inner Melbourne became commercialised, and banks began to establish an early presence in Collins Street as a direct result of the population and economic boom. The development of a banking precinct on the corner of Queen and Collins Streets demonstrated a shift in the City’s values in coordination with its architectural image. This is seen again during the and boom of the 1880’s which saw the development of the worlds first skyscrapers, the Temperance and General Head Office, and the new Manchester Unity building over took the spire of St Paul’s Cathedral. The T&G insurance company were placed in a position of prestige and domination over the city, paving the way for other companies to add to the evolving skyline in order to secure their own “corporate symbol” (Ford, 1992, p. 192). In Melbourne today, the skyline is dominated with corporate towers, facilitating communication between the company and their consumers. For example, the Telstra World Headquarters is based at the Telstra Centre on Exhibition St, where its position is clearly communicated to Melbourne residents. Telstra is Australia’s largest telecommunications provider, which is reflected in the design and landmark status of the 47 floor tower. The intertwining with the tower and the image of the city has been embraced worldwide (Ford, 1992, p. 198). Hence it is necessary when analysing a city to consider its skyline not only from an architectural and urban planning perspective, but also in terms of its historical social context, and its role as an urban communicator and symbol (Attoe, 1981, p. 20).
The Picturesque Skyline Melbourne’s Skyline References Attoe, W 1981, ‘Skylines as collective symbols’ in Skylines: Understanding and Molding Urban Silhouettes, John Wiley & Sons Ltd, London, pp. 1- 28 B Latour 2008. Lecture. ‘A Cautious Prometheus? A Few Steps Toward a Philosophy of Design’, Design History Society, Falmouth, Cornwall, 3rd September Cook, D 2010, ‘Living the high life or just skyscraping by?’, The AGE, 10 April, viewed 18 April 2010, Factiva Ford, L R 1992, ‘Reading the Skylines of American Cities’, Geographical Review, vol. 82, no. 2, pp. 180-200, viewed 15 April 2010, JSTOR
The Bunch with the Lunch Three Businessmen Who Brought Their Own Lunch The life-sized, whimsical sculpture portraying Melbourneâ&#x20AC;&#x2122;s three founding fathers, Swanston, Hoddle and Batman can be found at the corner of Swanston and Bourke streets. Playful simulations and unforeseen actions and interactions often surround the sculpture as curious pedestrians often pose with them for photographs, stand arm-in-arm with them, as well as imitate their stiffness (Stevens 2004, p. 145). Those who come across it cannot resist its approachability, integrating its role in the city as a familiar friendly piece. Public artwork has come into the main frame of the art scene, providing representations on multiple scales. It has most commonly been thought of as a decorative artifact. However, this sculpture demonstrates that art in public places can signify and bring forth a completely new concept, inviting a vast amount of unanticipated activities. In a city overflowing with opportunities that encourage and inspire its citizens to venture out of the social normalities, artworks like this peculiar sculpture illustrate and envision a multicultural and post-modern society, providing us insight into the depths of contemporary society. By contextualizing public space, we are able to explore the international views and new identities of culture and definitions. (Adamek 2008, p. 57) Soon approaching its 16th anniversary since it was first unveiled; the sculpture was a commemorative gift of the 150th anniversary of the City of Melbourne from the generous people and Government of Nauru. It acts as a reminder of how these three pioneers helped to shape Melbourne into the city it is today as well as the long standing relations shared between the two.
â&#x20AC;&#x153;Artworks like this peculiar sculpture illustrate and envision a multicultural and post-modern society.â&#x20AC;?
The Bunch with the Lunch Three Businessmen Who Brought Their Own Lunch Upon closer inspection of the three faces, one would find that the expressions come across as curious, yet somewhat startled as well. Perhaps sculptors Paul Quinn and Alison Weaver were trying to convey through the facial expressions of these carved men, how the forefathers would have reacted to seeing how the city has developed and transformed since they were last here. With different forms of art, public artists are given a platform to speak out and present their ideas and opinions. However, being such a subjective form street art can raise much controversy; public art and the artists in Melbourne have gone through tumultuous trials. Despite its increasing popularity, there are a few public art pieces that do not fall under the successful category unlike ‘highly successful major works such as Petrus Sponks’ Architectural Fragment, or Akio Makigawa’s Time and Tide’ (Scarlett 1998, para. 2). However, it is not cast in stone as success varies from each individual’s perception and appreciation of art. Public art communicates to all in the city in a subtle yet effective way. It exudes the different characteristics of the city such as creativeness, power, familiarity, talent and the society’s brilliant talents. While the life and career aspects of a public artist are difficult, with the increasing receptiveness of public art, it is possible things may improve. As years pass, the role of public art has changed and developed in numerous ways. Years ago, sculptures morphed from being expressions of confidence and wealth to figures of approachability and entertainment. In recent years, the number of sculptures has increased in the urban environments. Public art is more than just an urban decoration for the city. It is a representation of the society, the artist, and the global cross-cultural publics as well.
The Bunch with the Lunch Three Businessmen Who Brought Their Own Lunch References Stevens, Q 2004, ‘Urban Escapades: play in Melbourne’s public spaces’, in Lees L, The Emancipatory City? Paradoxes and Possibilities, 1st edn, SAGE Publications, London, pp. 139-157. Adamek, M & Lorenz, K 2008, ‘Public Art Practice and the Cultural Hybrid’, in Cartiere C & Willis S, The Practice of Public Art, 1st edn, Routledge, New York, pp. 56-59. Scarlett, K 1998, ‘Five hundred sculptors in Melbourne! (Where will they find an outlet)’, Artlink, vol. 18, no. 2, viewed 12 April 2010, http://search.informit.com.au.ezproxy.lib.rmit. edu.au/fullText;res=APAFT;dn=981010808
The Enigmatic Streets Street Art on Union Lane
Union Lane is located between Elizabeth, Swanston streets and extends from Bourke Street to Little Collins Street. It is renown for the graffiti, or street art, that don the walls. Melbourne is one of the greatest street art capitals of the world due to its unique open artistic atmosphere. Expressions of art are displayed on approved outdoor locations and can be seen throughout the city. Melbourne city allows public spaces to be used as a gallery or stage for artistic expression and street art is permitted within the law and with the building owner’s permission. Legal street art contributes to a vibrant urban environment and can change continuously on a day to day to basis. According to scale and quality, Union Lane should be one of the most famous places of Street Art in Melbourne city. In 2008, Union Lane became the canvas for the City of Melbourne’s Street Art Project, which transformed this ‘high profile location in the heart of Melbourne’s retail hub that was increasingly uninviting and heavily tagged’ into a space for a street art mural spanning 550 square meters on both sides of the lane (City Of Melbourne, 2008). This resulted in Union Lane offering a unique perspective in the city. The importance of street art is a contributing factor to a vibrant urban culture. The street art in Melbourne is renowned around the world and has already become an attraction for local and overseas visitors experiencing Melbourne’s creative artistic ambience. Street art represents a symbol of urban culture and it not only stands for the art and culture of one city but also shows harmonization.
“Street art, in the hands of successful management, would turn Melbourne into the Holy Land of design.”
The Enigmatic Streets Street Art on Union Lane
There is an atmosphere of peace and calm in Melbourne quite different from the frenzied atmosphere of other big cities. In fact, the majority of people do not like graffiti because they are considered an act of mischief within an orderly public environment. Contrary to this negative aspect, many people still appreciate street art as the fascinating artistic works or murals that are placed in appropriate locations with the required permission (City of Melbourne, 2009, para. 4). In other words, street art does act as a positive effect to advance traditional design, become popular and open to the public as well. The City of Melbourneâ&#x20AC;&#x2122;s Graffiti Management Plan formulated regulations to remove illegal graffiti without granted permission and retain street art placed in appropriate locations that have the agreement of property owners. Melbourne City Council has been fighting against illegal graffiti for a long time and has a series of measures in place to ensure that the city stays clean (City of Melbourne, 2009, para. 3). Street art, in the hands of successful management, would turn Melbourne into the Holy Land of design. Furthermore, design shows one kind of creative art. With the development of creative design, the unique culture style of the city is growing up little by little. Culture is the soul of the city and there is an important link to art that allows it an effective way to perform. Melbourne is the contemporary art and cultural capital of Australia, upholding a vibrant and dynamic community. The role of street art in Melbourne is to gain international influence, as well as to build cultural perspectives of urban culture in the city.
The Enigmatic Streets Street Art on Union Lane References City of Melbourne 2008, Union Lane Street Art Project 2008, updated 4 Mar, viewed 17 April 2010, http://www.melbourne.vic.gov.au/info.cfm?top=75&pa=3128&pa2=3552&pg= 3859 City of Melbourne 2009, Street Art, updated 14 June, viewed 17 April2010, http://www. melbourne.vic.gov.au/ForResidents/StreetCleaningandGraffiti/GraffitiStreetArt/Pages/ Whatisstreetart.aspx
The Epic Collaboration The Story of Five
Reading and editing each others’ work provided us with the opportunity to expand our perspective on design and its relation to the field of communications as well as the city of Melbourne. Collaborative work allowed us to find a consistent focus and tone throughout our presentation, work, as well as referencing. In depth discussions revealed the difference between professional strands and their contributions toward the development of Melbourne. Cross-referencing artefacts enabled us to understand the effect of design in Melbourne and the linkages between all our artefacts. Collaborative work is the most effective method to communicate with each other during the team project, and we learnt lessons from practice to improve.
“Clearly no group can, as an entity, create ideas. Only individuals can do this. A group of individuals may, however, stimulate one another in the creation of ideas.” — Estill I. Green
“Design is an aesthetic language.” — B. Latour
Shaping The City Consists of:
Blaise Marshall Verity Trott Nicole Yong Sheng Zhou Shawn Heng
End.