Melbourne General Cemetery - Representing and Remembering Place - Journal by ZIJIAN CHENG

Melbourne General Cemetery

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Zijian Cheng_Representing and Remembering Place

S U B J E C T

O V E R V I E W

This subject explores the documentation and representation of particular sites in Melbourne and elsewhere. The subject engages with design considerations outside the design studio context. The notion of site and place is explored through a number of theoretical themes and hands-on creative, representational techniques including mapping, photography, film, sound and writing. These themes are further investigated through the subject reader, lectures and seminar discussions. Equal emphasis is placed on theoretical problems of understanding contemporary contexts, and creative, representational techniques for documenting specific places. The major submission requires a well researched and presented 'Atlas' that evokes the memory of a place of choice. The culmination of the subject is an Atlas which can take a number of forms - book, website, film - as long as translatable into a digital submission for 2020.

Lecturer: Prof Hannah Lewi Hannah Lewi is an academic in ABP, and co-director of ACAHUCH the Australian Centre for Architecture History and Urban and Cultural Centre. I have been a registered architect in a previous life, and teach history, heritage and design-related subjects in the masters and B.Des degrees. Iâ&#x20AC;&#x2122;ve always been interested in the representation and collective memory of all sorts of places and through many media including mapping, photography and digital techniques. Some current and recent research projects are about the history of campus design; adaptive reuse of historical precincts; sound and heritage sites; the digital experience of historical places in Melbourne; and Australian Modernism and Postmodernism â&#x20AC;&#x201C; with the book Australia Modern: Architecture, landscape and design, co-edited with Philip Goad, published in 2019.

Tutor:Magdalena Sliwinska magdalena.sliwinska@unimelb.edu.au is graduate of the University of Melbourne with a double degree in architecture and landscape architecture. She has led Master Design Studios titled 'Immersed' and 'Rituals of Belonging'. Her interests are centered around the spirit of place and the relationships we have with place on a felt and embodied level. She is currently studying Creative Art Therapy and her creative practice includes making physical models, painting and writing. She has written poetry and prose related to place which features in the Journal of Interior Design (JID) titled 'The Spirit of Public Space: Embodied through Writing and Movement' and Kerb 27 Journal 'Sensitive Belonging in a Public Space.' As well as writing, abstract and textural mapping techniques, as well as the recently hand-sewing pieces feature in her work.

Melbourne General Cemetery

WEEK 1/ SPACE & PLACE WEEK 2/ MAPPING WEEK 3/ PHOTOGRAPHING WEEK 4/ ARCHIVES AND EXCAVATING WEEK 5/ FILMS WEEK 6/ WALKING AND EXPLORING WEEK 7/ DATA-MINING WEEK 8/ SOUND AND LISTENING WEEK 9/ WRITING AND CURATING

Zijian Cheng_Representing and Remembering Place

WEEK 1 SPACE & PLACE

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

READING A N A LY S I S

Week 01 reading analysis --- space and place These extracts of writings examine the definitions of space and place they expanded my concept of “place“ and ”site“ and more possibilities of our atlas work could head to. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: I found some ideas and the approaches of the author are quite interesting, especially the idea of “unbound Sites” and how the author sees the features of the sites as “spatially elastic” and “temporally provisional”.

Reading list: 1 Andrea Kahn, 'Defining Urban Sites'. in Burns and Kahn (eds), Site Matters, Routledge, 2005, pp. 282296. 2 Denis Wood, Everything Sings: maps for a Narrative Atlas, Siglio, Los Angeles, 2013, pp.12-31. 3 T i m C re s we l l , P l a ce : A Short Introduction, Blackwell, 2005. 4 Robert Beauregard, From Place to Site: Negotiating Narrative Complexity in in Burns and Kahn (eds), Site Matters, Routledge, 2005, pp. 39-59.

Some notable quotes in this extract are: “Site construction a site study process that yields a designed understanding of site through consciously selective viewing” “In this sense, the urban site is unbound by virtue of it is having many different structuring limits simultaneously in play, not because its boundaries are simply effaced. Urban sites are comprised of multiple fields (areas under design control, areas of influence, and areas of effect) each delimited according to its own operational horizons.” “the concept of urban constellation requires that designers situate their urban sites in multiple contextual, or scalar, frames simultaneously.” “Instead of defining site in a narrow lexical sense, these concepts activate gaps between sign and meaning to characterize urban sites as spatially elastic and temporally provisional.” How author expand the idea of a site on the perspective of geography, psychology and history is really inspiring when I reached how the author it emphasis the time and immediacy of a place or site, it reminds me what Heraclitus said, "You cannot step into the same river twice, for other waters are continually flowing on." This statement from the Greek philosopher Heraclitus means that the world constantly changes and that no two situations are exactly the same. Just as water flows in a river, one cannot touch the exact same water twice when one steps into a river. --------For reading two-------Overview: The extract material emphasis the initiative of mapping and what information a mapping should include, in author’s perspective how to filter the information and how we layout our mapping shall obey on the initial of our mapping, and the author against the mapping we make shall be used as a tool, but a poetic way, a subjective not objective way. The quota “stop mapping lamp posts and map those pools of light.” Impressed me most in this article.

Melbourne General Cemetery

Some notable quotes in this extract are: “Any order will give rise to a narrative reading which will it's the nature of reading be imputed to the subject” “Imagine an atlas with a structure ordered to tell a story greater than those told by each individual map, an atlas with something more clearly on its mind than keeping the maps off the floor. “ “There was zero interest in hiring someone like me (my dissertation was entitled I Don't Want To, But I Will), substantially less than zero when it came to cartography.” “Stop mapping lamp posts and map those pools of light.” The piece inspires me that the outcome of mapping could be in a very poetic way, and when we producing a mapping, we are presenting a perspective and likewise, a good map should emphasis the attempts, what is this mapping for, is it for capturing sound, is it to capture a specific time at a specific spot, or it is just a tool to guide someone to a barbershop. I took a film-related studio in my last semester, in the sessions we exposed to some film techniques about editing, the concept of “an atlas with a structure ordered to tell a story greater than those told by each map” reminds me the power of movie editing. “The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole.” From Wikipedia With the same video materials, there might be different movies outcome from the different editor, and in this case, let us say the site is a library with profound video materials, and we, as a designer, we are the movie editor, and we filter the information we want to present, we decide if the outcome is a comedy or thriller, a historical epic spanning two hundred years or modern love affair. The site itself is keeping telling us stories all the time, and we decide which part of the story we want to present.

--------For reading three-------Overview: The extract material emphasis the I found it quite interesting when the author takes student accommodation as an instance to expand the idea of “place”. It reminds me a movie called “ The Inerasable (2015) ” it is a horror movie about a haunting house, innovate successfully, instead of telling a simple ghost story, this movie reveals the crappy historical instance happened on the site of where this haunting house sit in, and those historical instance kind of explained what happened in this house

Zijian Cheng_Representing and Remembering Place

MELBOURNE GENERAL CEMETERY

WITH PROFOUND HISTORY AND A GOOD CONDENSE OF MELBOURNE CULTURE, T H E M E L B O U R N E GENERAL CEMETERY IS OF ARCHITECTURAL IMPORTANCE DUE TOT H E P R E S E N C E OF MANY TYPICAL CEMETERY BUILDINGS AND STRUCTURES OFHIGHARCHITECTURAL QUALITY SUCH AS THE GATEHOUSE, TWO CHAPELS, A FUNERARY OVEN A N D E I G H T R OT U N D A S . THE HEADSTONES AND MEMORIALS ARE ALSO IMPORTANT ARCHITECTURAL FEATURES

Melbourne General Cemetery Statement of Significance Last updated on - May 24, 1999

SIGNIFICANT

The Melbourne General Cemetery was established in 1850 pursuant to anactof the New South Wales parliament. Designed by Albert Purchas,surveyorand architect, it was opened in 1853 and is one of Melbourne'smostvisited and loved sites. The cemetery expanded in 1859, closed in1903and reopened in 1927. The cemetery is centrally located, onekilometrenorth of Melbourne's central business district and containsuniqueevidence of Victoria's colonisation. Its features includevariouschapels, a recent mausoleum, funerary ovens, rotundas,significant treesand shrubs, gatehouses and a myriad of pathways laidout in a serpentineformation. Throughout the twentieth century thecemetery experienced asevere lack of maintenance through various periodsof decline, its lowest being the 1950s. The cemetery trustees resigned enmasse in 1978 and were replaced by a temporary trust consisting of threeHealthCommission officers. In 1980 The Necropolis, Springvale was appointed the trustee of the Melbourne General Cemetery to oversee its management and maintenance.How is it significant? The Melbourne General Cemetery is of historical, social,aesthetic,scientific and architectural significance to the State of Victoria.Why is it significant? The Melbourne General Cemetery is of historical importance due to its significant contribution to the city as both its oldestexistingcemetery and its first modern cemetery. Much of Victoria'scolonialhistory can be traced through the headstones, memorials and monuments commemorating the lives both of prominent citizens and the everyday menand women who contributed to life in the early days of Victoria.The Melbourne General Cenetery is of social importance due toitsrepresentation of early burial practices, reflecting both thehardshipsfaced by those seeking their fortunes in the goldfields ofVictoria and also the opulence of the more affluent members of societysuch aswealthy landowners and members of parliament. Its socialsignificance isalso genealogical, as cemetery records as well asinscriptions on the gravestones themselves can assist greatly when searching for a unique insight into the history of past Victorians. It isalso a clearrepresentation of cultural attitudes, technology, skills of craftsmen,use of materials and also the high mortality rate experienced particularly through the 1850s. The Melbourne General Cemetery is of aesthetic importance due to the meticulous planning of architect Albert Purchas (1825-1909),and botanist Baron Ferdinand von Mueller (1825-1896) who were responsible for the formal and romantic layout of the cemetery and alsotheplantings of exotic and indigenous species of flora. Thehadstones,rotundas, memorials, chapels and other examples of funerary art collectively form a major visual element. Distant views from the elevated site as well as views into and within the cemetery contribute to its significance. The Melbourne General Cemetery is of architectural importance due tothepresence of many typical cemetery buildings and structures ofhigharchitectural quality such as the gatehouse, two chapels, a funerary oven and eight rotundas. The headstones and memorials are also important architectural features for their unique design characteristics and craftsmanship. The Melbourne General Cemetery is of scientific(horticultural) importance for the presence of traditional cemeteryplantings such the Italian cypress (Cupressus sempervirens) and thepepper tree (Schinus molle) and for the presence of a rare long leafed Indianpine (Pinus roxburghii).

Melbourne General Cemetery

HISTORY

Following Melbourne's formal recognition as a city in 1849, its population escalated with the discovery of gold in surrounding regional areas. An act was passed in NSW parliament in 1850 covering the establishment of cemeteries, and as a result the Melbourne General Cemetery was opened in 1853. Designed by Albert Purchas (1825-1909) this cemetery is a fine example of both formal and romantic planning, styles that were popular during the mid 19th century. In 1859 the 39.5-acre site was extended to 101 acres when additional crown land surrounding the site was reserved for cemetery use. After decades of mismanagement, vandalism and a severe lack of maintenance, the Melbourne General Cemetery was closed on 31 December 1903 following malpractices of the trustees and the last of the burial plots were sold off in 1904. The Fawkner and Springvale cemeteries were then established over the time leading to the reopening of Melbourne General on 1 November 1927 when the trustees were able to convince the government that they should resume the sale of burial plots. Between 1853 and 1922, the Melbourne General Cemetery received a number of exhumed bodies from the Old Melbourne Cemetery which originally occupied the site of the existing Victoria Markets after the Melbourne City Council declared it closed by proclamation in 1851 due to a lack of space. A total of 914 bodies were exhumed following years of neglect and they were then distributed between Fawkner Park Old Pioneers Section, Booroondara, St. Kilda, Cheltenham and Melbourne General Cemeteries. The original gatehouse and other associated buildings at the existing west entrance were demolished in the 1930s and the materials then used to construct the existing Tudor Revival gatehouse, offices and residence in the southwest corner when the burial area was extended by 6 acres towards the end of 1933. This was made possible by the passing of a special act of parliament and hence the total area is now 101.44 acres . The University of Melbourne and the Housing Commission considered acquisition of the land in the post-war period, during which time the condition of the cemetery continued its decline, at its worst in the 1950s due to lack of funds and some poor parliamentary decisions . The 1970s saw newspaper accounts of the alleged removal of bodies, associations with narcotics trading in the area and reports of organised crime . Interments had been carried out to insufficient depth and as a consequence, second burials for other family members were not possible. During the mid-1960s a mausoleum was constructed in the Catholic area of the cemetery. This work proved to be very controversial as it was thought at the time that the interment of bodies within the structure would be against health regulations. Following a lengthy court battle in 1965, the trustees were prevented from using it and in 1974 all bodies were removed from its walls and the structure demolished. In 1996 another mausoleum was constructed and is presently in use. In 1979 the Victorian Government amended the Cemeteries Act, appointing the Springvale Necropolis as trustees to oversee the maintenance and general management of the cemetery from 1 January 1980. ---Victorian Heritage Database Report---

1856 electoral plan of Melbourne compiled from government maps hotham area

Zijian Cheng_Representing and Remembering Place

WEEK 2 MAPPING

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

READING A N A LY S I S

Week 02 reading analysis --- mapping These extracts of writings expand the emotional level of a place and an environment, the senses and imaginations the context of a "site" brings to everyone are personal and multidimensional. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading two-------Overview: The author extends the traditional map concept to the category of biological and geography. At the end of the article, the author points out that, when we perceive a place, what we perceive is the emotion and cognition that the functional map cannot describe and is difficult to express with a single figure.

Reading list: 1 James Corner, 'The Agency of Mapping: Speculation, Critique and Invention' i n D e n i s C o s g ro v e ( e d ) , Mappings, Reaktion Books: London, 1999, pp. 213-252. 2 Stephen Hall, 'J M M e rc a t o r ' i n K a t h e r i n e H a r m o n , Yo u a re H e re : Personal Geographies, Princeton Press, new York, 2004, pp. 15-19. 3 Kevin Lynch, The Image of the City, Routledge: Harvard Press, 1960, pp. 1-14. 4 Rebecca Solnit, Infinite City: a San Francisco Atlas, U n i O f C a l i fo r n i a P re ss , Berkeley, 2010, pp 1-9.

Some notable quotes in this extract are: “It seems somehow easier to conjure up possibility out of a map than out of the sheer ether; perhaps we imagine the coordinates of latitude and longitude as a safety net.” “Maps are not intrinsically sentimental documents. “ “One is tempted to remark about how rapidly our world has changed, but what has really changed, even more rapidly, are our ways of seeing this world.” “…human and fruit fly alike, start out with the same floorplan, yet how diverse and unique are the mansions we erect upon our little plots of cytoplasm.” “I see our journey as a capillary of expediency and hope running through an immense landscape that for the most part we did not see and could not possibly have understood.” In the full text, the author emphasizes the perceptual attributes of a place and the associations and thoughts he brings to people in other dimensions, especially the comparison and association of biological structures and geographical laws that resonate with people. From personal experience, if I visited the Eiffel Tower now, I might think of a shooting scene in 007 films, then I would think of the actor who is staring at James Bond, then I may think of one of my favorite actors had lost the audition for that role, and then it may throw me back to my high school time, which is when I realized the magic of films, and it might bring me thinking about high school, the golden sunshine shined into the classroom window. The emotional impression of a place or environment is personal. I think I could apply this personal sensibility and imagination to the atlas. --------For reading three-------Overview: How author compares the process of way finding to people exploring the sense of place is interesting, and some other examples the author brought up towards the thinking of the setting of

Melbourne General Cemetery

cities and places are thought-provoking too. Some really notable quotes in this extract are: “This book will assert that legibility is crucial in the city setting, will analyze it in some detail, and will try to show how this concept might be used today in rebuilding our cities.” “Structuring and identifying the environment is a vital ability among all mobile animals.” “For the most part these examples seem to echo, curiously enough, the formal types of image elements into which we can conveniently divide the city image: path, landmark, edge, node, and district.” “Half a century ago, Stern discussed this attribute of an artistic object and called it apparency. While art is not limited to this single end, he felt that one of its two basic functions was "to create images which by clarity and harmony of form fulfill the need for vividly comprehensible appearance." in-his mind, this was an essential first step toward the expression of inner meaning.” “Kilpatrick describes the process of perceptual learning forced on an observer by new stimuli that no longer fit into previous images. It begins with hypothetical forms that explain the new stimuli conceptually, while the illusion of the old forms persists.” From the extract we could tell it is a very theoretical content, the author’s approach is various. The idea and discussion about the structuring and identifying the environment is not only valurable for this subject but also about urban planning and artificial landscape. When I reached the part that author talked about” the apparency of places”, It drives me thinking of all the under appreciated aspects of us when we sensing a place, and all the potential of us remembering a place besides the perspectives of path, landmark, edge, node, and district. I have watched an online speech from an urban planner, it talked about the loss of ecological features of urban planning now, this “ecological” he talked about is not only the ecological diversity and cultural diversity, but referring to this article extract, also about the diversity of modes of perception. The ecological feature and diversity of enviorment could also be seen as an uniqueness or " legibility " in gerneral city context or landscape.

Zijian Cheng_Representing and Remembering Place

Overlook General Melbourne Cemetery Site

Melbourne_General_Cemetery,_Melbourne,_Aust,_jjron,_25.01.10

Melbourne General Cemetery

General Melbourne Cemetery Site VIsiting Photos 0810

First time site visiting 2020/08/10

Zijian Cheng_Representing and Remembering Place

Current Map of General Melbourne Cemetery

Melbourne General Cemetery

Celebrities' Graves of General Melbourne Cemetery

Grave_of_Robert_and_Pattie_Menzies,_Melbourne_General_Cemetery2017

Grave_of_John_Gorton,_Melbourne_General_Cemetery

Grave_of_James_and_Sarah_Scullin,_Melbourne_General_Cemetery_2017

Memorial_for_Harold_Holt,_Melbourne_General_Cemetery_2017

Zijian Cheng_Representing and Remembering Place

A tree diagram of wolrdwide religious

sponsored by The 40 Foundation and prepared by Funk & Consulting.

Melbourne General Cemetery

Religious Ranking of Greater Melbourne

Religiousof Greater Melbourne (source is from Australia Bureau of Statics)

Zijian Cheng_Representing and Remembering Place

Symbols/graphs on headstones from different religious

Roman Catholic the crossed keys of St. Peter, symbol of the Church.

Church Of England Symbol

The "cross and flame" logo of the United Methodist Church.

presbyterian symbol

lutheran symbol

Melbourne General Cemetery

Jewish The Star of David, a symbol of Judaism as a religion, and of the Jewish people as a whole. And it also thought to be the shield (or at least the emblem on it) of King David. Jewish lore links the symbol to the "Seal of Solomon", the magical signet ring used by King Solomon to control demons and spirits. Jewish lore also links the symbol to a magic shield owned by King David that protected him from enemies. Following Jewish emancipation after the French revolution, Jewish communities chose the Star of David as their symbol. The star is found on the Flag of Israel. On tombstones Some common themes appear on many Jewish tombstones. Two hands with outspread fingers indicated that the dead man was descended from priestly stock (Kohanim) who blessed the people in this fashion, and a jug was carved on the tombstones of the Levites as an emblem of those who washed the priest's hands before he pronounced the blessing. Some gravestones show a tree with branches either outspread or broken off, symbolizing the death of a young man or an old man respectively; or they have a cluster of grapes as an emblem of Israel. The Star of David (Magen David) occurs frequently. Sometimes figures symbolized the name of the deceased, as the figure of a lion for Loeb, a wolf for Benjamin, and a rose for the name Bluma/ Blume.

Zijian Cheng_Representing and Remembering Place Mapping Exersice

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

WEEK 3 Photographing

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

READING A N A LY S I S

Reading list: 1 Jennifer Shields, on James Corner in Collage and Architecture, Routledge 2015 2 Celine Condorelli, 'Instance', in London+ 10, Architecture Association, 2010, pp 247-250. 3 R i c h a rd We n t wo r t h , 'Journeys on the Caledonian R o a d ' i n B o rd e n , K e r r , R e n d e l l & P i v a ro ( e d s ) , The Unknown City: Contesting Architecture and Social Space, MIT Press: Cambridge, Mass., 2000, pp. 386-405. 4 Richard Wentworth, 'dear peter', in Architecturally Speaking: Practices of Art, Architecture and the Everyday, Routledge, 2000. 5 Sarah Hermanson Meister, Open Shutter, Museum of Modern Art, 2004, pp. 9-19. 6 Bob Thall, CitySpaces: p h o t o g ra p h s o f C h i c a g o Alleys, Centre for American Places: Santa Fe, 2002, pp. 3-9 7 Genevieve S Baudoin, 'Composite Montage' in Interpreting Site, Routledge, 2015

Week 03 reading analysis --- photography These extracts of writings expand the emotional level of a place and an environment, the senses and imaginations the context of a "site" brings to everyone are personal and multidimensional. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: From the interpretation of collage, montage and cubism to how James Corner deconstructed the fragments of landscape information into the architectural expression is impressive. Some notable quotes in this extract are: “He addresses the relationship between the human body and how sire is both measured and experienced.” “Collage1 beginning with the Cubists, was an attempt to unify disparate images (both formally and conceptually) in order to promote connections between contradictory aspects of our experiences in the world.” “The imposition of rationalized metrics on the ground gives humans some sense of control over the vast landscape.” The idea of “rationalize “metrics on the ground gives human some sense of control over the vast landscape” is mentioned several times in this week’s reading, and I would like to refer to Richard Wentworth’s reading this week, which he talks about “practices which are world forming, and which in turn we respond to”, the metrics and all the other general measurement of everything is been normalized since we are born, but we ignore the kind of weird existing principles applying in this world. Both articles encourage readers to explore more underneath the normalized phenomenon. --------For reading two-------Overview: The author argues about the significance of the timing value of photography, and as a medium, the potential of the narrative of a photograph. Some notable quotes in this extract are: “Rather, the photograph makes present something from the past: photographs are beholders of duration.” “A medium may be intended to tell a particular story, but end up telling many others.” “The words document the moment of the image, and by doing so, give it meaning: this process of giving meaning is, or can be, manipulative.”

Melbourne General Cemetery

One of the features of photography this article reminds me is that photography could be manipulated, by framing, by exposure, by words, etc. It reminds me of an interview I read years ago, was from a director. He said: “a two-hour-movie is a two-hours-reality". I did not fully understand what does that mean, because I thought most movies are dreamy, the movie is a dream created based one a narrative, but I think I understand it better now, what he meant is, what has been framed in the camera, is the manipulated reality. In these 35 mm frames, those characters and narratives are real, the actors believe them, everyone on the set believes them. A movie is still a form of dream making but a manipulated reality. And precisely, it is the manipulative feature of photography that contributes to the magic of movies. --------For reading three-------Overview: Exploring the normalized weird existing principles and behaviors Some notable quotes in this extract are: “I am intrigued by all those practices which are actually world forming, and which in turn we respond to-how cars are parked affects how you are as a pedestrian-all those kinds of essentially urban conversations between people and objects.” “…those things that interest me are for the most part un-selfconscious” “Presumably photography is an obvious way of actually making sense of that relationship between different objects in the world.” “I want it to have other lives, even though if I died tomorrow nobody would know what to do with my slide photographs-most of them aren't even captioned-so I'm the only person who really knows any thing about them.”

Zijian Cheng_Representing and Remembering Place Site Visiting 0816

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place Artwork Reference

Socialisation Acrylic paint and Ink# 2019 By Max Manaia Galo

30 Places Faces (film) 2017 The film follows Varda and JR traveling around rural France, creating portraits of the people they come across.

Melbourne General Cemetery Artwork Reference

Zijian Cheng_Representing and Remembering Place Artwork Reference

PLACES F A C E S

Melbourne General Cemetery Mapping Exercise Cemetery & Faces 0816

Zijian Cheng_Representing and Remembering Place

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

WEEK 4 Archives and Excavating

Statue of Pasquino, Rome. 3rd C. BC

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

READING A N A LY S I S

Week 04 reading analysis --- archives and excavating These extracts of writings illustrate some percpective from archive files tosite context, the interaction between items venue and peopleis vital. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic?

Reading list: 1 Aldo Rossi: Reinventing the Locus by ROBIN MONOTTI GRAZIADEI POSTED ON OCTOBER 14, 2016 h t t p s : / / nulluslocussinegenio. com/2016/10/14/aldo-rossiand-the-concept-of-locus/ 2 A l d o R o s s i â&#x20AC;&#x2122;s C i t y o f Collective Memory by ROBIN MONOTTI GRAZIADEI POSTED ON OCTOBER 17, 2016 h t t p s : / / nulluslocussinegenio. com/2016/10/17/aldorossis-city-of-collectivememory/ 3 The Big Data of Ice, Rocks, Soils, and Sediments Inside the material archives of climate science.SHANNON MATTERNNOVEMBER 2017. https://placesjournal.org/ article/the-big-data-of-icerocks-soils-and-sediments/ 4 Rephotography and the situating of then-and-now Hannah Lewi and Andrew Murray

--------For reading one and two-------Overview: The discussion of collective mermory is valurable, the example of approachable cultural spiritual sculpture is inspring for my site--cemetery. "the equestrian statue placed in a position where there is no longer a living memory " but as a symbol, its rebel inspiration is been inherited and been contnued as a local collective memory

Melbourne General Cemetery

Some notable quotes in this extract are: “It resides in the single artifact, in its material, the succession of events that unfolds around it, and the minds of its makers; but also in the place that determines it-both in a physical sense and above all in the sense of the choice of this place and the indivisible unity that is established between it and the work.” “The locus inhabits the material dimensions of its architecture, the events that take place there, the minds of its architect, and the unique relation between place, building and activities that occupy it.” “Collective memory exists not as an abstract category of thought, unverifiable by scientific means, but it exists in the relation between the urban fabric of the city and those who inhabit it.” “The locus is where, as explained by France Yates in The Art Of Memory (how memory attaches itself to certain spatial structures) memories attach themselves to in the city.” “The locus, so conceived, emphasizes the conditions and qualities within undifferentiated space which are necessary for understanding an urban artifact.” “What social media like Twitter does today outside of a physical space, Pasquino or those who attach their satirical verses to it, has been doing for centuries while also creating a locus of collective memory in the city.” I am currently taking a history course, the twenty-first century, and I am working on a manifest about how digitalization would affect future architecture. It is mainly inspired by the movie Blade Runner 2049, directed by Denis Villeneuve. More specific, is from a movie scene, that a hologram girl who falls in love with a human boy, and she tends to have sex with him, then she asked a prostitute to simulate her consciousness on the prostitute's physical body, it brings me thinking of the possibility of consciousness could be simulated and been coded, this kind of splitting off of perception and physical body, and transcendental live form is been widely discussed in sci-fi movies. referring to architectural language, What if digitalization could strip the perception level of architecture by immersive technology, then what is left for architecture and future architectural design? I looked it up in John May’s book [Everything is already an image], and it talked about the digital archive and wide use of the application, and he assumes that everything contemporary architects do is aiming for translating into digital. In this week’s reading, Robin Monotti Graziadei says “The locus inhabits the material dimensions of its architecture, the events that take place there, the minds of its architect, and the unique relation between place, building, and activities that occupy. "So it raised me thinking of that, if places been digitally archived, as a site, what features it would lose. And what collective memory would be leftover under this context.

Zijian Cheng_Representing and Remembering Place

CEM CEMETERY (1841 - 1861) Plans of cemetery, church, school and hospital reserves showing boundaries, stating denominations and often showing the denominational divisions of general cemeteries. This is a sub collection from VPRS 8168 Historic Plan Collection

Plan of the Melbourne general Cemetery [cartographic material]./ A. Purchas, C. E., 1860 ; De Cruchy & Leigh, Lith., [Melbourne].

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

RAIL RAILWAY LINES (1852 - 1913) Plans showing the boundaries of reserves surveyed for the establishment of railways (and tramways) in Victoria. The plans are at various scales, some showing the array of lines throughout Victoria and many others showing routes through individual parishes. The plans feature a dearth of "incidental" information. This is a sub collection from VPRS 8168 Historic Plan Collection.

ELEC12 NORTH MELBOURNE ELEC ELECTORAL PLANS (1855 - 1859) Published maps of electoral divisions in the Colony of Victoria. The plans are normally of small scale and have a minimum of incidental information. This is a sub collection from VPRS 8168 Historic Plan Collection.

Melbourne General Cemetery

[Melbourne] [cartographic material]. Author / Creator Melbourne and Metropolitan Board of Works Publisher [Melbourne : Melbourne and Metropolitan Board of Works? Date 1896?]

Melbourne and Metropolitan Board of Works plan, scale 400 feet to 1 inch. no.30 , Melbourne [cartographic material]. Author / Creator Melbourne and Metropolitan Board of Works. Publisher [Melbourne] : MMBW Date [between 1933? and 1950?]

Carlton North [cartographic material]. Publisher Melbourne : Department of Lands and Survey Date 1877 or 1881

Zijian Cheng_Representing and Remembering Place

fHrlbnurar (Srarral

44 Title The Melbourne General Cemetery. Author / Creator Melbourne General Cemetery (Melbourne, Vic.) Publisher [Melbourne? : The Cemetery?] Date 1936 Distributor / Manufacturer (Melbourne : Norman Bros.)

Melbourne General Cemetery

SITUATION— THE

Melbourne General Cemetery Founded 1852

Opened 1853

+ OFFICE: College

Crescent,

Carlton,

N.3,

Victoria

Telephone F 2811

+ TRUSTEES - 1852 R. W. POHLMAN, Chairman H. JENNINGS

J. SULLIVAN

D. OGILVY

R. SMITH

Secretary : A. PURCHAS, C.E.

+ TRUSTEES - 1936 HERBERT NORMAN, Chairman J. J. GILCHRIST

C. J. PERLSTEIN

Hon. E. L. KIERNAN, M.L.C.

J. S. WALKER

G. E. LANGFORD Secretary : W. E. PRATT

The Melbourne Cemetery, which includes an area of approximately 106 acres, is situated close to the Sydney Road at Carlton, and is easily reached in a few minutes by electric trams (via Elizabeth Street or Swanston Street) or motor car.

HISTORICALIn the year 1850, when most of the land available for burial purposes in the Old Melbourne Cemetery had been sold, the Legislative Council of New South Wales assented to an Act "for the establishment, and regulation by Trustees, of a General Cemetery near Melbourne,1’ and on the 27th March, 1852, the Commission appointing the first Trustees was issued from the Colonial Secretary’s office in Sydney. The Cemetery was surveyed and laid out in De nominational areas; it is interesting to note that our early Australian cemeteries were among the first in the world to be sub-divided in this manner. This was largely due to the influence of General Sir Richard Bourke, Governor of N.S.W., who was a noted advocate of religious liberties, and it was under his personal directions that some of them were so planned. With the advice and assistance of Baron Von Mueller, the broad, winding avenues, which had been made a special feature in the designing of the Cemetery, and the areas that had been reserved for garden purposes were tastefully set out and planted with suitable trees and shrubs, which even to this day make the Cemetery a notable one in this respect, and give it its distinctive individuality. At the beginning of the present century the rapidly expanding population of Melbourne called for further *( 5 ]+

E NTRANC E AND ADMINISTRATIV E BUILDINGS

STATISTICAL—

into 130 different compartments. Staff :

The permanent staff con sists of 30 employees.

Length of roads:

44 miles.

Length of paths:

42 miles.

Length of water channels :

10 miles.

Length of water mains and pipes:

7 miles.

Buildings:

Offices, Secretary's resi dence, three dwelling houses, eight shelter kiosks.

Fence:

ADMINISTRATION-

CEMETERY HOURS-

The Cemetery was opened in 1853. It is 106 acres in extent, and is divided among 10 religious denominations, and

Two miles of iron fence on dwarf bluestone wall.

...

100,000 graves, in which

Graves:

270,093 persons are buried. Visitors:

250,000 people visit the

Expenditures:

£750,000 has been spent

Cemetery yearly.

on monuments, etc. over graves, and more than £100,000 on the roads, paths, buildings, etc.

For visitors the Cemetery is open from 7.30 a.m. until 6 p.m. Office hours on week-days from September until April are from 7.30 a.m. until 5 p.m. (4 p.m. on Saturdays), and from May until August 7.30 a.m. until 4 p.m. The office is not open on Sundays, but a gate-keeper Is on duty at the Main Gates from 2 p.m. till 5 p.m. to answer enquiries and to direct visitors to the different parts of the Cemetery.

The Cemetery is administered by honorary Trustees representing the various religious denominations, the indi vidual Trustees being nominated by the religious bodies concerned.

UPKEEP OF GRAVESIf memorials are to become other than meaningless,

REVENUE AND UPKEEP OF CEMETERYThe Revenue of the Cemetery is derived from the following sources:1. 2. 3. 4.

Sales of Burial Rights. Burial Fees. Fees for maintenance of graves. Interest on invested funds.

The upkeep constitutes a severe drain upon the revenue, and comprises the following expenditures:1. Salaries and wages. 2. Grass-cutting. 3. Tools and materials. 4. Water and sanitary charges. 5. Insurances. 6. Office and general expenses. 7. Cartage. Grass-cutting is a specially heavy expense, and every year special gangs of men experienced in scythe and sickle work have to be engaged. Owing to the presence of thousands of graves surrounded by stone-work and iron fences, progress is necessarily slow and the work takes from three to four months to complete.

•[151+ •[14]+

they must be tended and cared for. In those cases where relatives or friends find they are unable to personally give this attention and care, they are invited to entrust the work of preservation to the Trustees, who for a small charge under take the preparation and planting of gardens on graves. Before the closing of the Cemetery in 1904 the majority of graves were cared for in this manner, or by the relatives themselves; but with the passing of the years during which it remained closed, graves became gradually neglected until now large numbers have lapsed into a regrettable condition. It would be an act of graceful consideration if relatives or friends would again exercise their privilege of restoring and beautifying the resting place of their loved ones.

PERPETUAL MAINTENANCEFull information and particulars with reference to the maintenance of graves, either yearly or in perpetuity can be obtained personally, or by letter, from the office of the Cemetery. -[ 13 ]

Zijian Cheng_Representing and Remembering Place

Memorial to (TOP)

JOHN ALEXANDER BURNETT

Memorial to Native Chief DERRIMUT

+ The first burial in the

Cemetery, 28th May,

Who by timely information to

1853

Memorial to

Hon. JAMES SERVICE +

Twice Premier of Victoria

the first Colonists saved them from massacre (ON THE RIGHT)

Memorial to

+++

ROBERT HODDLE

Memorial to

(BELOW)

First Surveyor-General of

Memorial to

Victoria

JOHN CONWAY BOURKE +

Lieutenant-Governor

Victoria's first mailman

Chief Justice of Victoria

Memorial to JOHN PASCOE FAWKNER + Claimed by many as the founder of Melbourne

Hon. Sir JOHN MADDEN

Melbourne General Cemetery

Memorial to

SERVICE

Victoria

ROBERT O'HARA BURKE

Memorial to

and

Sir JOHN O'SHANNESSY

WILLIAM JOHN WILLS +

Member of the first Parliament

The famous explorers

of Victoria

ADDEN

Lieutenant-Governor and

Victoria

Memorial to Hon. RICHARD HEALES

Memorial fo SIR CHARLES HOTHAM

+ Member of the first Parliament of Victoria

First Governor of Victori

Zijian Cheng_Representing and Remembering Place

Melbourne General Cemetery

provision being made for its burial needs, and this Cemetery was closed to allow the Fawkner and Spring Vale Cemeteries to become established. During the time it remained closed, great deterioration took place, and when nearly 25 years later it was reopened, this deterioration had assumed serious proportions. Much progress, however, has since been made in restoring the extensive gardens and the 46& miles of avenues and paths to their former state of beauty and repair, and in keeping with their associations and purposes. This restorative work can only be done slowly as there is no endowment to the Trust, and the annual margin of revenue over expenses is not enough to allow for large expenditures being made in any one year. A well-defined policy of reconstruction is, however, being consistently carried out. An extension of the burial area of the Cemetery was granted by the Government at the end of the year 1933, when a special Act of Parliament was passed, which gave the Trustees power to use for burial purposes a reserve of approximately six acres in extent, that had previously been used as an entrance drive to the Cemetery proper. This area has been enclosed and a new entrance made on the frontage to College Crescent by the removal and re-erection of the handsome iron gates that had been a notable ornament to the Cemetery for over 70 years. The artistically designed Gothic buildings that had served as offices and gatekeeper's lodge for a similar period have also been removed and the material used for the erection of a stately administrative block on the new site. A new road has been laid down, gardens formed, and the surveying of the area into sites for graves carried out. These sites are available to those who would like to make provision for family graves in the beautiful surroundings of Melbourne's oldest and most important Cemetery, with all its historical significance and interest. +[ 7]

and founder of the Melbourne Public Library; Marcus Clarke,

EARLY BURIALS—

author of "His Natural Life"; Robert Hoddle, first SurveyorThe Cemetery was opened for burials in the year 1853,

General of Victoria; Sir John O'Shannessy, a member of the

and much of the early history of Melbourne may be gathered

first Parliament of Victoria, and Premier of the next succeeding

from a study of the inscriptions to be found on the many

Government; Peter Lalor, whose name recalls memories of

thousands of memorials erected within its boundaries.

the Eureka Stockade episode; the Very Reverend Hussy Burgh

chronological order a few amongst many are here recorded.

Macartney, first Dean of Melbourne; Hon. James Service,

The first burial was that of John Alexander Burnett, one of

President of the first Federal Conference of Australasia, and

the founders of the firm of Dalgety & Co., who was buried

twice Premier of Victoria; John Conway Bourke, Victoria's

on 28th May, 1853; Major-General Sir Robert Nickle, who

first mailman, whose memorial was erected by the Historical

was Commander-in-Chief of Her Majesty Queen Victoria's

Society of Victoria; Sir John Madden, first Doctor of Laws

Forces in Australia, at the time of the creation of Victoria

of the Melbourne University, who later became Lieutenant-

as a Colony; Sir Charles Hotham, the first Governor of

Governor and Chief Justice of Victoria; the Reverend William

Victoria as an autonomous State, whose magnificent memorial

Pascoe Crook, one of the first missionaries who left England

is one of the only two examples in Australia of the architectural

in the ship "Duff" in 1796, who was probably the first clergyman

genius of Sir G. G. Scott, R.A.; James Galloway, one of the

to arrive in Victoria; and many, many others associated with

founders of the Eight Hours system in Australia; Burke and

the early days of the then new Colony of Victoria.

Wills, the explorers; Native Chief Derrimut, who, by timely information to the first colonists, Messrs. Fawkner, Lancey, Evans, and Henry Batman, saved them from massacre planned by some of the up-country tribes of Aborigines; Hon. Richard Heales, a member of Victoria's first Parliament, a pioneer of the Temperance Movement, and one of the Colony's earliest Premiers, whose memorial was erected by the public in remembrance of his statesmanlike administration; John Pascoe Fawkner, claimed by many as the actual founder of Melbourne; Robert Russell, first Surveyor of Melbourne; Sir Redmond Barry, first Puisne Judge in Victoria, first Chancellor of the University, ♦[9]-

■[ 11 ]■

Zijian Cheng_Representing and Remembering Place

SHADOWS O F HISTORY

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

Melbourne General Cemetery

L I N E MAPPING CEMETERY ARRANGE

Zijian Cheng_Representing and Remembering Place

WEEK 6 FILMING

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

STONES s t o n e s s t o n e s

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

A G I N G O F STONES

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

WEEK 7&8 WALKING AND EXPLORING

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

READING A N A LY S I S Reading list: 1 C h e n g Y i ' E n , Wa l k i n g Ethnography, Affective Materialities, and Mobile Encounters, Space and Culture Journal, 2014. 2 Rob Walker, The Art of N o t ic ing , 'Go ing Place s' section, 2019. 3 Georges Perec, An Attempt at Exhausting a Place in Paris, 1973. 4 Richard Phillips, 'Georges Perec's experimental fieldwork, section 'Exploring ordinary places', 2016 5 Suzanna Conrad, Documenting local history: a case study in digital storytelling, 2013

Week 07&08 reading analysis --- walking and exploringe These extracts of writings provides various perspectives about what we could focus on while we are walking and exploring a place. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: The article concluded some interesting approaches to further explore a place/site, such as “take a long walk through an unfamiliar part of town”” get there the hard way”” misuse your tools”” randomise your movements” Some notable quotes in this extract are: “You don't have to travel to the other side of the world to find a new place to explore. Look at a map of your hometown or city and consider the territories you know absolutely nothing about. And then plot yourself a nice long walk.” “While Hawkins's approach to randomisation seems extreme, the spirit is inspiring. Here's a low-tech alternative: flip a coin,” “Spend a day off travelling your hometown without spending a penny. Spend an afternoon of your holiday in a new city the same way.” “Instead of choosing the familiar chain, the internet-endorsed hot spot or the place that simply looks really interesting ... choose the opposite.” Heaps of ideas be concluded in this abstract about how to explore places in this abstract, ideas such as “TAKE A LONG WALK THROUGH AN UNFAMILIAR PART OF TOWN” inspired me most especially because of this pandemic, people always complaining about they cannot travel, but the thing is there are plenty of things we could explore in our city in our town, some alleys we have never been to, some parks we have not had a picnic in. I also checked out the reference Rob mentioned in this reading, the project “I’m just walking” by Matt Green and 'On Looking: eleven walks with expert eyes', Alexandra Horowitz': (a short video from her). My project is cemetery, I got quite inspired to look at my site in more perspectives, for example, the quotes on the gravestone, the composition of stones etc. --------For reading two-------Some notable quotes in this extract are: “My intention in the pages that follow was lo describe the rest instead: that which is generally not taken note of, that which is not noliced, that which has no importance: what happens when nothing happens other than the weather, people, cars, and clouds.”

Melbourne General Cemetery

“I couldn't say whether the people I'm seeing-are the same ones as yesterday, whether the cars are the same ones as yesterday. On the other hand, if the birds (pigeons) came (and why wouldn't they come) I'd feel sure they would be the same birds. “ “But its very conception is al the antipodes to Life: whereas \he later novel would present a roving eye Investigating every nook and cranny within \he delineated confines of an Imaginary Parisian apartment building frozen in time (8:00 exactly on 23 June 1975-some eigl1t montl1s after tile recordings of this text), Perec here lets the contents of an actual Parisian square rove about his, for the most part, stationary eye.” At the beginning, the text begins to deconstruct a place from different perspectives, and there is still time. This kind of arrangement and arrangement like obsessive-compulsive disorder makes people feel like reading a pure rational diary, watching A Wes Anderson movie, having breakfast with an obsessive killer, and discussing the fill-in-the-blank problem of chicken and rabbit in the cage with the math teacher. These microrecords seem to describe a time period and a place in great detail, but they don't seem to. I think the reason is that, as the author describes, the behavior and the numbers he describes are objective, but what interests the author, why does the author choose this thing to describe is subjective?

Zijian Cheng_Representing and Remembering Place

⑥ ① ④

⑤ ③ ②

68 ① grave of Mary Mackillop's grandparents ② grave of Frederick Federici ③ grave of Sir Redmond Barry ④ grave of Derrimut ⑤ grave of Jame Stephens ⑥ grave of James Galloway

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

CHAPTER THREE

<888>

Three main pioneers of the Victorian eight-hour day campaign are buried here, the campaign was first struck among stonemasons. Referring to the concept of the final project and the features of the site, "stone" is definitely the keyword towards them both. As the first chapter, I would like to introduce this historical period as well as how to process stones, making mounds make them a column or a gravestone.

The origins of the Victorian eight-hour day The eight-hour day was achieved by Victorian stonemasons in April 1856 after they staged a strike on the Parliament House building site. A number of other trades had success in gaining an eight-hour work day, particularly when the economy was thriving. Legislation to formalise the eight hours system was not successful in the Victorian Parliament, although the Government eventually agreed to apply the principle to all government contracts. Extended shop opening hours and the rapid growth of manufacturing industries meant long hours and poor conditions for many unskilled workers. The worst excesses were investigated by the Shops Royal Commission of 1882 and were partly addressed by amendments to factory legislation. A monument to commemorate the struggles of the Eight Hours movement was unveiled in 1903. Stonemasons organise Victoria in 1856 had 'an atmosphere of political and social radicalism', along with great optimism in its abundant wealth and future prospects.[34] In this environment, James Stephens and James Galloway began the campaign for an eight-hour working day in Melbourne at a meeting of the Operative Stonemasons' Society in Collingwood in February 1856.[35] At a public meeting of building trade employers and employees at the Queen's Theatre on 26 March 1856, a majority of attendees supported the eighthour day and agreed that the new system would start on 21 April â&#x20AC;&#x201D; effectively giving employers one month's notice. The ease with which agreement was reached on the eight-hour day has been attributed to the fluid nature of building work at the time â&#x20AC;&#x201D; the widespread practice of subcontracting meant that every skilled tradesman could be an employee one day and an employer the next. A further mass meeting on the eight hours question, held on 11 April 1856, supported the motion put by Dr Thomas Embling (MLC for North Bourke) that called for 'an abridgement of the hours' of labour. Dr Embling was applauded for his statement that the hours of the day should be divided by three, with eight hours assigned each to labour, 'mental and bodily recreation' and repose.

70 grave of Thomas Topping

Melbourne General Cemetery

A 19th-century workers ditty: Eight hours to work, Eight hours to play, Eight hours to sleep, Eight bob a day. A fair day’s work, For a fair day’s pay.

Jame Stephens

James Galloway

The eight-hour day movement originated in Britain, where industrialisation and unregulated factory work had rapidly changed and degraded working conditions; the slogan of 'eight hours labour, eight hours recreation, eight hours rest' was coined by Robert Owen, a Welsh manufacturer and socialist reformer, as early as 1817. A number of new arrivals to Victoria already had considerable experience in unionism and the Chartist movement in the United Kingdom, notably stonemasons James Stephens and James Galloway. They quickly involved themselves in the central issue that concerned workers in 1855–56, which was the length of the working day. By the end of 1855, James Stephens and James Galloway had become president and secretary of the Operative Stonemasons' Society and other trade unions were being formed for carpenters and joiners, plasterers, bricklayers and cabinet-makers. The highly skilled masons were seen as the elite of the trades and organised themselves along similar lines to the British stonemasons' unions.

University of Melbourne Law Quadrangle, site of the eight-hour day strike

James Galloway expressed some of the hopes of new immigrants to the colonies when he said 'we have come 16,000 miles to better our condition, and not to act the mere part of machinery'.[28] In Australia the unrelenting summer heat was a factor in the campaign for shorter working hours, as was the argument for more leisure time to give workers greater opportunities for education and self-improvement in the developing cultural life of the colony.

Thomas Topping Lead figure in the move for the adoption of the Eight Hour Day. An early resident of Fitzroy, he involved himself in local issues but his major impact was in relation to the introduction of the Eight Hour Day. This brought a measure of control to the working day that had been lacking to that point. With his brother Robert he served on the relevant committee that sought change from the Government, and the measure of his success was shown by the fact that at his funeral his coffin was draped in the Eight Hour Flag and there were many attendees from the Trades Hall Council.

Zijian Cheng_Representing and Remembering Place

CHAPTER TWO

One apparent feature of a cemetery is spooky, and Melbourne General Cemetery does not let me down. One of the most famous ghost in Victoria buried here, and I would like to introduce this creepy story in my film.

Frederick Federici (22 April 1850 – 3 March 1888) was an Italian-born British opera singer known for his work in the bass-baritone roles of the Savoy Operas written by Gilbert and Sullivan. He is also remembered as a reputed theatre ghost in Australia. Early in his career, Federici worked as a talent agent before becoming a concert singer. From 1879 to 1887 he toured extensively in Gilbert and Sullivan's comic operas with the D'Oyly Carte Opera Company. His roles included the Pirate King from The Pirates of Penzance appearing in the opera's first performance in 1879. He also played, among other roles, Captain Corcoran in H.M.S. Pinafore, Colonel Calverley in Patience, Strephon in Iolanthe and Florian in Princess Ida. He appeared in the title role in The Mikado (1885) and as Sir Roderic in Ruddigore (1887) in the first authorised American productions of those works. In 1887, Frederick arrived in Australia to perform with Messrs. Williamson, Garner and Musgrove’s Opera Company. He was to play in several operas, culminating with a star turn as Mephistopheles (the devil) in Gounod’s famous opera, ‘Faust’. The opening night of Faust at the Princess Theatre was keenly anticipated. The Argus reported that: ‘There was a very large house, and “Faust” was given with unexpected success … Mr Federici shared with his fellow artists the applause of the audience’. It was in the final scene that tragedy struck. Federici, as Satan, was to spirit Faust down to hell. Standing over the stage trapdoor in a mirage of smoke and fire, Federici wrapped his scarlet cloak around his victim. He spoke his character’s final lines: ‘It might be’. They were the final lines he would ever deliver.

72 grave of Frederick Federici

Federici and his fellow actor began to disappear from the stage through the trapdoor, but ‘just as their shoulders were on a level with the stage, Mr Federici was seen to put out his hands and clutch the boards’. Federici fell down the trapdoor, taking his fellow performer with him. He died in the green room forty minutes later. The cause of death was a heart attack.

Resources https://blogs.slv.vic.gov.au/such-was-life/federicis-ghost/

Melbourne General Cemetery

In true theatrical style, even Federici’s funeral was dramatic. He was buried in the Melbourne General Cemetery on Monday 6 March. The coffin was ‘literally smothered’ in wreaths and flowers (Table Talk). Reverend E.H. Goodwin was so affected by the tragedy that as the coffin was lowered into the ground, he ‘sank on to a mound in a fainting fit’ and ‘was unable to complete the service’. In the years that followed, actors, stagehands and even patrons began reporting strange happenings at the Princess Theatre. Audience members reported odd lights flashing on and off during theatre performances. Stagehands and artists described feeling something brushing past them in empty corridors. Strangest of all were the reported sightings of Federici. Witnesses said that his ghost appeared as ‘a tall figure of a good-looking man, in full evening dress, hair slightly greying at the temple, and of stylish appearance’.

3 It is said that Federici appears at night. Usually, he sits around the centre of the second or third row of the theatre’s dress circle. Sometimes he changes seats to watch the faces of the critics. Some say they have observed the Italian ‘frowning at the weak performances of inferior actors’, taking notes, and brushing his hair back ‘with impatient gestures’ when he is displeased. Eventually the ghost glides off through the boxes, disappearing down the stairs behind the Royal Box. Every opening night, a seat in the Dress Circle at the Princess Theatre is left empty for Federici. It is a good luck sign if his ghost appears.

1 Frederick Federici as The Mikado of Japan in The Mikado 2 Scene from the opera of “Faust,” at the Haymarket Theatre; IMP18/05/64/8 3 Princess Theatre Melbourne Victoria; H94.90/1

Zijian Cheng_Representing and Remembering Place

CHAPTER THREE

<SAINT>

By engrave the good deeds of friends and relatives on the gravestone, people remember their goodness in life. But due to cultural differences, tombstones describe different acts of kindness, the different definitions of good people and saints involve the cultural diversity of Melbourne area and people's definition of a good death.

Mary Helen MacKillop RSJ (15 January 1842 â&#x20AC;&#x201C; 8 August 1909) was an Australian religious sister who has been declared a saint by the Catholic Church, as St Mary of the Cross. Of Scottish descent, she was born in Melbourne but is best known for her activities in South Australia. Together with the Reverend Julian Tenison-Woods, she founded the Sisters of St Joseph of the Sacred Heart (the Josephites), a congregation of religious sisters that established a number of schools and welfare institutions throughout Australia and New Zealand, with an emphasis on education for the rural poor.

74 grave of Mary Mackillop's grandparents

The process to have MacKillop declared a saint began in the 1920s, and she was beatified in January 1995 by Pope John Paul II. Pope Benedict XVI prayed at her tomb during his visit to Sydney for World Youth Day 2008 and in December 2009 approved the Catholic Church's recognition of a second miracle attributed to her intercession.[3] She was canonised on 17 October 2010, during a public ceremony in St Peter's Square at the Vatican. She is the first Australian to be recognised by the Catholic Church as a saint. Mary MacKillop is the patron saint of the Roman Catholic Archdiocese of Brisbane.

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

CHAPTER FOUR

76 grave of Sir Redmond Barry

Ned Kelly is an iconic Australian folk hero, one of the most iconic scenes is Ned Kelly wearing a self-made metal body armour having a gun battle with the police in the forest, as a sound-based short film, it will be an excellent subject to expand

Sir Redmond Barry, KCMG QC (7 June 1813 â&#x20AC;&#x201C; 23 November 1880), was a colonial judge in Victoria, Australia of AngloIrish origins. Barry was the inaugural Chancellor of the University of Melbourne, serving from 1853 until his death in 1880. He is arguably best known for having sentenced Ned Kelly to death.

Ned Kelly (December 1854 â&#x20AC;&#x201C; 11 November 1880) was an Australian bushranger, outlaw, gang leader and convicted police murderer. One of the last bushrangers, and by far the most famous, he is best known for wearing a suit of bulletproof armour during his final shootout with the police.

Melbourne General Cemetery

Gang-Helmets

Gang-Helmets Created: 20 November 1880

Kelly was born in the then-British colony of Victoria as the third of eight children to Irish parents. His father, a transported convict, died shortly after serving a six-month prison sentence, leaving Kelly, then aged 12, as the eldest male of the household. The Kellys were a poor selector family who saw themselves as downtrodden by the Squattocracy and as victims of persecution by the Victoria Police. While a teenager, Kelly was arrested for associating with bushranger Harry Power, and served two prison terms for a variety of offences, the longest stretch being from 1871 to 1874 on a conviction of receiving a stolen horse. He later joined the "Greta mob", a group of bush larrikins known for stock theft. A violent confrontation with a policeman occurred at the Kelly family's home in 1878, and Kelly was indicted for his attempted murder. Fleeing to the bush, Kelly vowed to avenge his mother, who was imprisoned for her role in the incident. After he, his younger brother Dan, and two associates— Joe Byrne and Steve Hart—shot dead three policemen, the Government of Victoria proclaimed them outlaws. Kelly and his gang eluded the police for two years, thanks in part to the support of an extensive network of sympathisers. The gang's crime spree included raids on Euroa and Jerilderie, and the killing of Aaron Sherritt, a sympathiser turned police informer. In a manifesto letter, Kelly—denouncing the police, the Victorian government and the British Empire—set down his own account of the events leading up to his outlawry. Demanding justice for his family and the rural poor, he threatened dire consequences against those who defied him. In 1880, when Kelly's attempt to derail and ambush a police train failed, he and his gang, dressed in armour fashioned from stolen plough mouldboards, engaged in a final gun battle with the police at Glenrowan. Kelly, the only survivor, was severely wounded by police fire and captured. Despite thousands of supporters attending rallies and signing a petition for his reprieve, Kelly was tried, convicted and sentenced to death by hanging, which was carried out at the Old Melbourne Gaol. His last words were famously reported to have been, "Such is life". Historian Geoffrey Serle called Kelly and his gang "the last expression of the lawless frontier in what was becoming a highly organised and educated society, the last protest of the mighty bush now tethered with iron rails to Melbourne and the world".[1] In the century after his death, Kelly became a cultural icon, inspiring numerous works in the arts and popular culture, and is the subject of more biographies than any other Australian. Kelly continues to cause division in his homeland: some celebrate him as Australia's equivalent of Robin Hood, while others regard him as a murderous villain undeserving of his folk hero status. Journalist Martin Flanagan wrote: "What makes Ned a legend is not that everyone sees him the same—it's that everyone sees him. Like a bushfire on the horizon casting its red glow into the night."

Zijian Cheng_Representing and Remembering Place

CHAPTER THREE

Australian aboriginal topic is sensitive. The story of aboriginal people Derrimut is very tragic and dramatic, the reference to the experience of Derrimut at the end of the film reaffirms the respect for the aboriginal culture and the history of people living in this land now

Many Melburnians are familiar with the name Derrimut. It’s a suburb, a mountain, and it’s the name given to streets in Albion, West Footscray and Hoppers Crossing. It’s even a state electoral district. But most do not know the story – and the person – behind the name. In a shaded part of Melbourne General Cemetery, a pale gold headstone commemorates Derrimut, a Boon Wurrung leader, who died in 1864. “by timely information given October 1835 to the first colonists . . . saved them from a massacre planned by some of the up-country tribes of Aborigines”. According to research by Boon Wurrung Elder Carolyn Briggs, Derrimut was the head of the Yalukit-weelam clan, whose land extends from the mouth of the Yarra River, to what is now St Kilda and South Melbourne. Dr Ian Clark, a non-Indigenous historian, says that as a clan leader, Derrimut was an important negotiator with the early white settlers of what is now called Melbourne. “He certainly had a lot to do with them, went fishing with them on at least one occasion, and lived with them at several stages,” Dr Clark says. Records from 1839 show that Derrimut was made, along with three other Aboriginal men, to assist in the “capture” of members of other tribes who had allegedly killed a white settler. Derrimut became well-known in the colony after the attack, with a parish – now the suburb – named after him in the early 1840s.

78 grave of Derrimut (or Derremart or Terrimoot)

But just as the colonial settlement bearing his name grew, Derrimut witnessed his own lands being occupied as waves of colonisation intensified. Resources https://www.thecitizen.org.au/articles/21derrimut Words by Claire Capel-Stanley

Melbourne General Cemetery

Fawkner’s diary shows that in 1858, Derrimut confronted a magistrate outside of the Bank of Victoria, saying that the land on which the bank stood, between Collins St and Flinders St, belonged to the Boon Wurrung people. Dr Ian Clark’s research shows that he later speared the magistrate, Mr William Hull, for intruding on a traditional ceremony, an event also alluded to in the 1862 Melbourne Punch article. In 1862, Derrimut was sentenced to 12 hours imprisonment for drunkenness. When the request to continue living at Mordialloc was refused in 1863, Derrimut’s already poor health declined rapidly. On March 10, 1864, he was admitted to Melbourne Benevolent Asylum in North Melbourne, where there was a public hospice. An internment certificate notes Derrimut’s “old age” and “dilapidated condition.” Derrimut died on April 16, 1864 of pneumonia and internal cysts, possibly exacerbated by alcohol. Jidah Clark, who can trace his own ancestry back to Derrimut and his clan, says that Derrimut’s story gives him “a sense of injustice. And it should give everyone a sense of injustice, really.

“Some people like to try and push this culture of denial of Australian history. But it’s shared history that we all need to be aware of, understand, and be proud of in a sense. Because there is pride in the actions of people like Derrimut.”

1 Portrait of Derrimut by Benjamin Duterau. Painted in 1837 as a result of the visit to Hobart with J.P. Fawkner. (Dixon Galleries, State Library of NSW.) – Image/ Wikicommons 2 Derrimut, Victoria

Zijian Cheng_Representing and Remembering Place

WEEK 9 DATA-MINING READING A N A LY S I S Reading list: 1 Edward Tufte, 'Graphical E xc e l le n c e ' , T h e V i s u a l Display of Quantitative Information, Graphic Press, Connecticut, 2001. 2 Genevieve S Baudoin, "Diagramming' in Interpreting Site, Routledge, 2015 3 Genevieve S Baudoin, 'Comparative Analysis' in Interpreting Site, Routledge, 20153 Georges Perec, An Attempt at Exhausting a Place in Paris, 1973.

Week 09 reading analysis --- data-mining These extracts of writings expanded the connection of data, diagram and architecture. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: This reading material includes many cases study about data and graphic design, which is not only helpful to this subject but more general design studying. Some notable quotes in this extract are: “A silly theory means a silly graphic” “Notice how quickly and naturally our attention has been directed toward exploring the substantive content of the data rather than toward questions of methodology and technique.” “Data maps have a curious history … many highly sophisticated geographic maps were produced cen turies before the first map containing any statistical material was drawn.” “Time-series displays are at their best for big data sets with real variability. Why waste the power of data graphics on simple linear changes, which can usually be better summarized in one or two numbers? Instead, graphics should be reserved for the richer, more complex, more difficult statistical material.” “Principles of Graphical Excellence Graphical excellence is the well-designed presentation of interesting data-a matter of substance, of statistics, and of design. Graphical excellence consists of complex ideas communicated with clarity, precision, and efficiency. Graphical excellence is that which gives to the viewer the greatest number of ideas in the shortest time with the least ink in the smallest space.” “Graphical excellence is nearly always multivariate. And graphical excellence requires telling the truth about the data.” The author's definition of Graphical Excellence makes a strong generalization of graphical design. Through the exploration of different diagram designing methods and ideas, the Graphical Excellence thesis is finally highlighted by a very interesting case study. It includes the author's discussion of technicalities, which he says should go back to the data itself anyway, the cause-and-effect relationship between time and data in the icon design, and how to use diagrams to make narrative statements. The methodology of showing time and space through diagrams in this paper will serve as a reference for my future chart design

Melbourne General Cemetery

--------For reading two-------Overview: This paper combines and extends the theory of site, diagram and architectural design, and can be combined with the topic about "space and place" and "walking and exploring" we have discussed in the past few weeks in terms of this week's reading content Some notable quotes in this extract are: “The diagram is, in its broadest sense, a representational tool used to reduce complexity to essential components and communicate critical relationships or tasks. what happens when nothing happens other than the weather, people, cars, and clouds.” “His definition applies a broad understanding of the diagram as a representational tool to architecture as a specific selective and reductive process that occurs in the mind. “ “From Stan Allen ‘ a field condition could be any formal or spatial matrix capable of unifying diverse elements while respecting the identity of each. Field configurations are loosely bound aggregates characterized by porosity and local interconnectivity ... Form matters, but not so much the forms of things but the forms between things. ’ ” “Architecture is not simply a process of elimination based on limitations set in place by the definition of the site. Defining the site will allow you, as the designer, to understand what choices can be made, and begin to structure the factors that will impact larger moves made to the site and predict the consequences of any move that runs against or bends away from what already exists.” This article in the construction site, diagrams and concepts on the relationship between the development and extension, the contents of the article is brought me back to the reading of a few weeks before, on the first week of reading mentioned in the definition of a site and its boundary, and last week when we talked about the matter of the first initial impression of a site and how to extend and summarize a venue information. One of the things that really inspired me was how the author talked about how Koolhaas inspired his design by redefining the site boundary in a vertical direction (on the height difference).

Zijian Cheng_Representing and Remembering Place

WEEK 10 SOUND AND LISTENING READING A N A LY S I S

Reading list: 1 Colin Ripley, 'Sound in Architectural Thought and Practice', Hearing Places S o u n d , P l a ce , T i m e a n d C u l t u re , e d . R o s B a n d t , Michelle Duffy and Dolly MacKinnon, Cambridge Scholars, 2007, pp.86-99. 2 K e i k o To r i g o e , ' A Soniferous Research Garden o f R e n t a ro h ' i n H e a r i n g Places Sound, Place, Time and Culture, ed. Ros Bandt, Michelle Duffy and Dolly MacKinnon, Cambridge Scholars, 2007, pp.99-111. 3 Richard Coyne, 'Noise', in The Tuning of Place, MIT Press, 2010. 4 Anastasia Karandinou, No Matter: Theories and Practices of the Ephemeral in Architecture, Ashgate, 2013.

Week 10 reading analysis --- sound and listening These extracts of writings provide various perspectives about how sound be underappreciated for centuries and how we shall utilizing sound to build up the sense of place The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: From the perspective of acoustic design in architecture, this paper expounds the relationship between place and sound. In the case explanation, the author analyzes the neglected sound and material design, and emphasizes the importance of sound for creating a sense of spatial hierarchy. Some notable quotes in this extract are: “Man no longer creates his world, but is now a part of a pre-existing world.” “This emphasis on the visual within architectural practice and discourse has been the case at least since the renaissance, when the increased reliance on drawing as a technique leading to the production of buildings shut out, to a certain extent, the other senses.” “In other words, we should be able to represent our virtual spaces not only visually, but also aurally, allowing clients, designers, students etc. to hear a proposed building as well as see it.” “We began by thinking of this aural landscape in terms of functional zones, each of which would be given a distinct sonic character.” “Sound enfolds us, brings us into a space.” “We name ourselves through sound” “Sound makes us aware of our bodies” “Sound makes us aware of the presence of others” The author talks about the absence of sound in architecture and landscape design in previous centuries, as well as the neglect of sound in daily life. The reason is that architecture or landscape design relies on drawings and visual representation for a long time, and it is difficult to express sound in drawings and renderings, which later on leads to the absence of sound design. In the case study, the author emphasizes the design of sound in place and architecture, as well as its emphasis on spatial order and the community nature of the place.

Melbourne General Cemetery

--------For reading two-------Overview: This excerpt and the previous one are from different chapters of the same book. The discussion of sound in this paper is mainly based on the perspective of architectural design. From three cases, the author describes how to construct a sense of place by building up a sound environment of the sound of the surrounding environment, historical reference, and sensory. Some notable quotes in this extract are: “The soundscape is defined as "an environment of sound with emphasis on the way it is perceived and understood by the individual or by a society, depending on the relationship between the individual and any such environment."' However. we find our framework of the acoustic environment much enlarged when we include our memories, and the history and atmosphere of the place, all of which have accumulated in that environment through the daily lives of its dwellers. This expands the concept of soundscape, and has implications for the field of spatial design in general, and needs to be taken into account when addressing acoustic design.” “…human activities-such as foot-steps and voices, the "sounds of nature" such as cthesound of rain and wind, the bark of animals, the chirping of birds, as well as "sounds in memory" and "sounds in legend"-as all important components of an acoustic environment.” “Thus, the. experience of a soundscape captures sound both within the contemporary location and in its historical origins. Exploration of new dimensions of acoustic design. ” Author by introducing the local representative sound bite trigger site of collective memory, and his technique is with the introduction of the plant, the smell to attract birds and insects, etc. Compared with the artificial reproduction of sound, this technique is more organic and sustainable. That reminds me of Neri Oxman's work. She introduced natural tectonic in her projects by introducing a cicada into the design gimmick. They are both organic methodology. Also, the author mentioned that sound can be seen as the result of the combination of organic and artificial, an isolated element, but also a collective property.

Zijian Cheng_Representing and Remembering Place

REFERENCE

AR STUDIOS - Ruggine https://www.youtube.com/watch?v=VJ6Z_i_hRVU&t=6s

The short film tells the story of an old man wandering in an abandoned factory, which has become a place of entertainment for people in the community. Standing in the distance, he pulled out a photograph of what it looked like before the factory was abandoned, as the old man closed his eyes and recalled the old days. For the factory kickers, the clatter of hands against the ball becomes the clatter of machines, the clatter of skateboard wheels on the ground becomes the clatter of gears. The short film completes the dialogue of the same place across time and space through the editing of the sound. The image perfectly presents the connection and combination of objective objects and subjective feelings when people visit a place.

Melbourne General Cemetery

CHAPTER THREE

<888>

This chapter mainly to Introduce this historical period as well as how to process stones, making mounds make them a column or a gravestone. In the editing I collaging the sound of the stone chisel with site photos, and historical drawings.

Audio Reference How to chisel cut your stone (2017) https://www.youtube.com/watch?v=-6fJ32bIj7A&t=52s Artisans Of Australia: Stonecraft (1984)

Zijian Cheng_Representing and Remembering Place

CHAPTER TWO <PHANTOM OF THE OPERA>

The combination of sound and image in this chapter focuses on story-telling, which mainly relies on the voiceover of the documentary to construct the narration of this chapter

86 Audio Reference Federici the real Phantom of the Opera in Haunted Faust et Méphistophélès 1903 Faust and Mephistopheles - Silent Short Film - Alice Guy

Melbourne General Cemetery

CHAPTER FOUR

This chapter USES the iconic sound effects of the historical figure and the visual image and the historical image, which I chose with mild soothing effects and harsh bullets to crack the metal, symbolizing Ned kelly's two voices that were helped and supported by local people but were chased by the police.

Audio Reference Metal ASMR - Sounds of metal trigger compilation for relaxation and sleep (no speaking)(2012)

Zijian Cheng_Representing and Remembering Place

CHAPTER FOUR

This chapter mainly emphasizes the memory of Australian aboriginal culture, through the voice emphasizes the definition of the name "Derrimut different, golf course, gym, school, gradually be taken back to the indigenous music voice

88 Audio Reference Between two worlds: Derrimut saved white lives, and mourned lost lands Derrimut Primary School (2017) https://www.youtube.com/watch?v=mll4faYJpk8&t=4s Derrimut Gym FIT X Marketing Video (2017) https://www.youtube.com/watch?v=Tu-y5N0v6Rw Hole 1 of 18 at Mt Derrimut Golf & Community Club (2020) https://www.youtube.com/watch?v=LQBY5NsmKr8&t=9s The Wheel Shop Derrimut now offers Zip Pay (2020) https://www.youtube.com/watch?v=DP9FeLMxVcs Life in Australia: Melbourne (1966) Australian Aboriginal Didgeridoo Music(2016) https://www.youtube.com/watch?v=nN-542IYoE0&t=365s

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

WEEK 11 WRITING AND CURATING READING A N A LY S I S

Reading list: 1 Alex Selenitsch, Writing Architecture, Subaud no 3, 2003. 2 Richard Phillips, 'Georges Perec's experimental fieldwork, section 'Writing as a fieldwork practice', 2016 3 John Hejduk, Such Places as Memory: poems, 19531 9 9 6 , C a m b r i d g e P re ss , 1998. 4 lain Sinclair, London Orbital, Granta Press, 2002, pp. 8-14. 5 Paul Hallam, 'Estate' in Estate: Fugitive Images, Myrdle Press, 2010, pp. 84104. 6 Jane Rendell, "To Miss the Desert' in Site-Writing: The Architecture of Art Criticism, , Tauris Press, 2010, pp. 7584.

Week 11 reading analysis --- writing and curating Writing is an obvious but incredibly powerful way of recording places and buildings; through memory and through the descriptions of journeys taken. These writings take varied and poetic approaches to 'writing sites'. The analysis is based on answering these questions: do I agree or disagree with this authors approach? are there some really notable quotes I could take away? does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places? are there other things I have read or seen that relate to the topic? --------For reading one-------Overview: The author finds the common ground between prose and architecture from the perspective of non-linear exposition of time among both, subjective reality and objective experience, and the concept of "form is content" Some notable quotes in this extract are: “This is where I have to work very hard to pull the images apart so that the prose works as prose, that is, as a step-by-step unfolding of words and thoughts.” “Duration is a link between literature and architecture.” “The rule that the form of a work is its content and hence must be perceivable came to the fore in the 1960s when I was beginning to write.” “Building elements arrive in sets and are stacked as potential material on the site, near the building - except where matter is delivered wet in which case it is placed immediately. (During demolition materials and fixtures from the building are sorted into piles. No demolished material is wet, but crushed brick, stone or concrete comes close to being fluid, and it is remqved as it falls from the building.)” “The book begins a spatialization of time through its page structure and binding.” “A person can only move along one path at a time, so that many paths need many visits or many people.” The theory and the words from this article are very powerful. This paper relates architecture and prose from the perspective of "form and content". It says "the form of a work is its content ". The examples of this article exand the concept greatl author deconstruct architectural tectonic, function, activities and time is powerful, discontinuity of text delivers the concept vividly.

Melbourne General Cemetery

--------For reading two-------Overview: Very good explains how to write a place where very accurate and luxuriant words describe a series of images of infectious, imagination of both subjective and objective items, and the result is quite strong and powerful. For example "the thirty - nine arches shaded the statues at sixty degrees horse pedestals" refer to the specific number is very effective pull to the playback from imagination and reality, description of details in the poem is common and it works well. Through the description of quantity, color, texture, and "less important" elements, the author creates several poignant timeframes. A detailed description has also been mentioned in the previous reading of "Walking and Exploring". The methodology is widely used in country song writing as well. Some notable quotes in this extract are: “your building stones entomb.” “it stopped when sheep shadows mixed with those of cypresses the thirty-nine arches shaded the statues at sixty degrees horse pedestals held bronze hoofs Ardeatine whispers skimmed the earth the photos bled” “Thus, the. experience of a soundscape captures sound both within the contemporary location and in its historical origins. Exploration of new dimensions of acoustic design. ”

Zijian Cheng_Representing and Remembering Place

FINAL PROJECT

The short film includes five chapters, each chapter introduces one narrative of a gravestone in Melbourne General Cemetery. Five chapters cover five aspects of Australian and Victorian history and culture, including the famous Victorian ghost, folk hero, first Australian saint, aboriginal people, etc. Through sound editing, this short film evokes the connection between objective photos and images and subjective sensory and the historical stories and characters behind the tombstones. 92

Denis Wood says "everything sings", same to here in Melbourne General Cemetery, every gravestone sings, and hopefully this short film can let you hear the lyrics.

Movie Link YouTube: https://youtu.be/AtG_xvwsGNM Vimeo: https://vimeo.com/479039501

Melbourne General Cemetery

Zijian Cheng_Representing and Remembering Place

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