The University of Melbourne

Department of Architecture Building and Planning

Essay two

Topic - Globalisation

Introduction

This essay is to discuss the involvement of politics or government in architecture that directly shapes society. It will investigate the effects on local culture and society and the way in which society and culture acts around such developments. This political or government based architecture has deep historical roots, and it will be the intention of this essay to give comparisons over history. It is envisaged the essay will work through built examples designed under political pressure that share similarities. The buildings to be investigated in detail are the Crystal Palace (Joseph Paxton, London 1851) and the, Melbourne Exhibition Centre (Denton Corker Marshall, Melbourne 1996) as shall be demonstrated these buildings were both created using the power of politics and both were seen to be centres of benefit for the public. When investigating the examples, similarities and differences will be pointed out, which will give rise to comparisons and differences in a concluding element.

This essay will also investigate the idea of government forging a nation and the influences this has on societies, forging ahead in technology, forging ahead in business, forging ahead in the arts, forging ahead in research. Where this occurs specifically is not the topic to be raised, the question is about the appropriateness of any government to direct such practices, where practices under their own free will, may not necessarily develop.

Design throughout man’s past has involved political pressure, this pressure has come in slightly varying forms, with nevertheless a same end goal. By political influence it is meant towards the involvement of any government to create structures that otherwise would not necessarily have been commissioned privately, or to influence the design of any structure to suit political gain. The political pressure placed on designers, architects and builders has both qualities of good and bad, the good emerges as the successful design solution to the design problem with community direction, the bad is an involvement of public land that is not under public control and money that is raised by taxation and then invested in unwanted programmes without public consent.

The Political Background

Whilst in Australia, the state Victoria and city Melbourne, were found to be economically broke in 1992 and in fast decline on the international economic after a decade of Labor government. The newly in power Liberal party with a strong electoral mandate went about reforming the state in many ways, the issue to be inspected closely, is the placement of Melbourne as an international destination for arts and business.

The Crystal Palace¹ was part of Prince Albert’s plan to keep England established as the world leader in all parts of the economy, especially against Paris. Whilst in Melbourne toady, Jeff Kennet is leading the Liberal party in pushing Melbourne back onto the world stage to compete with other large international cities, such as Singapore, Rome and Barcelona. Whilst Prince Albert was interested in the application of 'art and industry'², Jeff Kennet is interested in promoting Melbourne as an ‘international arts destination’, and as the ‘place to do business’. And whilst Henry Cole³ (record keeper and editor of Journal of Design and manufacture), visited French exhibitions to gauge the requirements to better Paris, Ron Walker (business adviser to the Liberal government) visited London and several other cities to observe Melbourne’s requirements to re-enter the world market. Whilst Joseph Paxton was able to deliver the strong individualistic solution in contrast to the exhibitions indecisive commission on behalf of the British government, Denton Corker Marshall are able to deliver cost effective, well timed and distinct icons for The Department of Business and Employment (Victorian State Government).

In history as part of the governments efforts to promote their city or state as a worth while destination, included the development of public architecture which is, "In simple terms what we see when we drive in to Sydney or Melbourne from the airports is the public face of architecture."⁴ And with this development within government come the realisation that "As it is true that the shape of cities and the character of their architecture mirrors the political ideas that dominate a period."⁵ This leads one to question the intent of any strong political power and the benefits to society.

With the government of the 1850’s came the idea that "on the assumption that a confident display invokes the confidence of the customer, expenditure was lavish, and the architects and engineers responded with vigour and assurance which resulted in some of the greatest building achievements of the century."⁶ Whilst in the 1990’s the Liberal government builds with the belief that; "It is generally recognised that height is among the eligible indicators of relative importance of any institution, which also include large size, a large number of buildings, prominent location, and distinctive style,"⁷ is important in the promotion of Melbourne.

Whilst in 1850 the idea was to "evoke some generalised feeling of confidence in the achievements of the age,"⁸ in 1996 "In some situations, it is possible to recognise the impact or power considerations on the location and style of buildings which have as a characteristic goal some value outcome other than power,"⁹ which is to promote the city as a multi-cultural and multi-business environment, suited to international investment and patronage.

This ‘multi’ based city has connotations of "the modified environment of the world community, for example, which keeps alive the fundamental perspectives of the world political system: the expectation of violence, the emphasis on national identity, and the demand for national power,"¹⁰ this is closely associated with the activities of the current political activists that demand significant world presence with a unified national identity and struggle to deal with domestic violence.

The Buildings

The Melbourne Exhibition Centre was constructed using the latest light weight technology, "The aerofoil roof profile over the main exhibition space was aerodynamically tested in Monash University's wind tunnel."¹² (with the architects Denton Corker Marshall winning the Gold Medal for excellence within the realm of architectural practise from the Royal Australian Institute of Architects.) The Crystal Palace had 93,000m2 total floor space which was the combined area of two levels and bayed display areas, whilst the Exhibition Centre has 30,000 square metres of clear span area with additional ancillary spaces.

The use of iron and glass in the Crystal Palace is still significant because it was the first building to seriously introduce standardisation into the construction industry.¹³ The introduction of standardisation was a critical element for the approval of Paxton's proposal for the Crystal Palace. This form of construction meant that the building process was effectively split in two, one being in the factory where the components were made and the other being their assemblage on site.

The Melbourne Exhibition Centre is a continuation of this process, with the existing partially built concrete shell and its construction methods abandoned, it promotes a series of standard roof trusses, support columns and glazing systems. The aesthetic as described by Norman Day; "Glazing is held using metal patches and ribs of glass; there is a celebration of technology, it is a building where the means of production is the aesthetic; where the architectural expression shows the function of the material used."¹⁴ This description has ties with the Crystal Palace, which was distinctly different to other architectural styles of the period, not using applied ornament, rather using the inherent properties of the buildings materials for its aesthetic. The Crystal Palace was painted in vivid colours using celebratory red, blue, yellow and white,¹⁵ whilst the Melbourne Exhibition Centre has the distinctive yellow signature of the design architects.

Picture 3 demonstrates the sketch Paxton used to communicate his idea for construction of the building.

Picture 4 highlights the open plan achieved by using the aerodynamically designed roof truss.

The Design Intent

The Paxton design used the new materials glass and iron to great advantage, it displayed all the right qualities for the governments end goal, which was a cheap 93,000m2 shed. It is important to remember that although the projects statistical criteria were met, there was also the issue of the national aesthetic presentation which was the major concern of the commission. The proposal was successful, even if it was not the aesthetic of the commission, but because it was merely impossible to refute given the physical constraints of the project. "The degree to which these displays (great exhibitions) were regarded as national platforms from which to challenge the British command over industrial production and trade may be judged from the emphasis placed each time on the structure and content of the 'Gallerie des Machines'."¹⁹

The Melbourne Exhibition Centre has an important requirement in terms of architectural presentation. Denton Corker Marshall, the architects for this project have a unique signature within their architectural vocabulary. Their distinct work is seen as beneficial for the centre which within its short time has already gained critical and social success with its iconography. The buildings architectural signage is considered very important for the Liberal government, as it requires a natural billboard through which it can advertise itself. "The blade also overrides the inherited jumbled form… and projects a powerful sign toward the city."²⁰ Construction of this facility also seems to promote the uniqueness of the design, the open internal area, the length of the structure, and the use of existing conditions. The design aesthetic within this proposal may well not be to the governments liking either, however in today’s architectural business, firms like Denton Corker Marshall have established community acceptance, cost control and work within the popular international aesthetic of technological architecture.

Picture 5 illustrates the repetitive appearance of the external Crystal Palace facade.

Picture 6 highlights the Exhibition building's repetitive column verandah.

Effects On Local Culture

During the construction period of the Crystal Palace, their parliament was flooded with prophets of catastrophes of varying nature from local endangered health, local hunger increasing, costs of local housing affordability and the loss of work opportunities. "'Glass House'… that accursed building erected to encourage the foreigner at the expense of the already grievously-dis-tressed English artisan."²¹ Whilst with the actualisation of the project local communities were flooded with healthy international patronage, local communities benefited immensely with highly paid borders and wealth paid to the knowledgable local with the ability to provide travel to and from the event.

The Melbourne Exhibition Centre had similar outcomes as part of an overall package completed to coincide with the 1996 Grand Prix, the building brought international income to the city and increased occupation rates within the local hotel community. Within the explanation of communities, it is important to note why communities exist. "People join or remain members because it is in their self interest to do so."²² Community advancement or maintenance is carried out through providing the right infrastructure that encourages or facilitates this interest. Questions of whether international patronage encourages this or stifles it, will be answered by the communities willingness to partake in events, which includes the community defining the risks and benefits that come with international exposure and income. Society is divided into two categories the 'social fabric' and 'social unit',²³ if the social unit is prepared for the international exposure, the social fabric would become even closer knit, and would benefit immensely by working together for an end goal. It is when the social aspects are railroaded or forced to partake in such activities that problems or breakdowns within community structures will occur. With boundaries for local and international people clearly defined, the city centre becomes an international inhabited zone, with communities retreating back to the suburbs.

When local communities are in favour of the activities, there can be a focused direction for development within the realm of design. Whose architects and designers can by "Crafting the best materials, produce buildings that respond to the myriad signs and symbols that a society produces and needs."²⁴ This again can be addressed by architects representing the united community, the issues of iconography and international presentation and define "what they see as they move around is the face of public architecture. This is an architecture that is intended to impress, titillate, and please the masses,"²⁵ while remembering to please both local and international users.

Conclusion

The use of architecture to promote these events is strong with architecture forming the crux of most successful attempts at gaining international reputations. There exists a formulae for international successful architecture, which does push the design abilities of the architectural community, with the best designs winning for both the local community or culture and international visitors, encouraging the advancement of architecture.

Picture 7 building model of the Exhibition Centre.

Picture 8 entry column area to Exhibition Centre.

Picture 9 Exhibition Centre sited along the Yarra, with the new Crown casino to it's left.

Document Quotations

1. Chadwick, The Works Of Sir Joseph Paxton 1803 - 1865, p104.
2. Beaver, The Crystal Palace, p11.
3. Chadwick, loc cit.
4. Hallen, In The Public Face Of Architecture, p107.
5. Ibid.
6. Risebero, The Story of Western Architecture, p191.
7. Laswell, The Signature of Power, p84.
8. Risebero, op cit, p194.
9. Laswell, op cit, p52.
10. Ibid, p55.
11. Chadwick, op cit, p 77.
12. Harmer, Architect, Victorian Chapter, p5.
13. Jordan, Victorian Architecture, p 110.
14. Day, Architecture Australia, p52.
15. Beaver, op cit, P24.
16. Ibid, p105.
17. Ibid
18. Ibid, p106.
19. Frampton K, Modern Architecture, London 1985, p35.
20. Harmer, op cit, p4.
21. Beaver, op cit, p28.
22. Fischer, Networks and Places, p9.
23. Cerny, The Changing Architecture of Politics, p31.
24. Hallen, op cit, p112.
25. Ibid, p107.

Bibliography

1. Beaver Patrick, The Crystal Palace, Sussex 1986.
2. Briggs Asa, Iron Bridge To Crystal Palace, England 1979.
3. Cerny Philip, The Changing Architecture of Politics, Sage Publications, London 1990.
4. Chadwick George F, The Works of Sir Joseph Paxton 1803 - 1865, England 1961.
5. Day Norman, "Exhibition One" Architecture Australia, May/June 1996. Vol 85 No 3 pp 46-53.
6. Department of Business and Employment, State Government of Victoria, "Melbourne Exhibition Centre", Agenda 21 document.
7. Fischer Claude, Networks and Places, The Free Press, New York 1977.
8. Fox Merritt B, The Signature of Power, Transaction Books, New Jersey 1979.
9. Frampton Kenneth, Modern Architecture: a critical history, 1985 edition. Thames and Hudson, London 1990.
10. Hallen Hans, The Winter Conversazione for 1990, "The Public Face of Architecture or the Face of Public Architecture", On The Public Face of Architecture, The Boston Melbourne, Oxford Conversazione on Culture and Society. Southbank Communications Corp 1990. pp107-113.
11. Harmer Philip, "Major Projects, Melbourne Exhibition Centre' Architect, Victorian Chapter June 1996. pp 4-7.
12. Hobhouse C, 1851 and The Crystal Palace, England 1852.
13. Melbourne Exhibition Centre Trust, "Fact Sheet, Melbourne Exhibition Centre'.
14. Risebero Bill, The Story of Western Architecture, The Herbert Press, London 1985.
15. Victorian State Government, "Portals of Promotion" Agenda 21 quarterly Issue No 9 February 1996. Pp 10-15.

1. Asa Briggs, From Iron Bridge to Crystal Palace, p 175. - Illustrates the placement of the Crystal Palace as the international attractor to both people and business.
2. George F Chadwick, The Works of Sir Joseph Paxton. p 92. - Explains the simple section used to construct the massive building.
3. Philip Harmer, 'Major Projects' Architect Victorian Chapter, p7. - Shows the open span area of the exhibition space, and the aerodynamic design.
4. Patrick Beaver, The Crystal Palace, p37. - Perspective of repetitive pattern used to clad the structure.
5. Norman Day, 'Exhibit One' Architecture Australia, p51. - Repetitive column formation to highlight the length of the structure.