Comm2411- Communications and Social relationsAssignment 3

Disciplinary Perspective: Design

Group Members: Alex Switzky, Alex Austin, Jo Hawley, Hugh Brophy

Artefact: The Royal Arcade

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Built in 1870, the Royal Arcade is a central point in Melbourne, joining the Bourke Street Mall, Elizabeth Street and Little Collins Street. As well as its location, a key point in Melbourne's CBD, the Arcade has several distinct features: speciality stores are highlighted by the classical Victorian design, tiled walkways and high ceilings acting as architectural details. In addition to the older style seen in the construction, the Arcade was renovated during the last decade, installing modern skylights in several points in the arcade, greatly improving the penetration of natural light and adding a new dimension to the already majestic appearance of the Arcade. 

The Arcade is an intriguing element in Melbourne's landscape: it combines the well-publicized concept of Melbourne's laneways with

European design tropes. The laneways concept, according to Fung, is a vital element in Melbourne's urban identity. However, she goes on to state that they are “European” in their look and feel, and that this is their central appeal. It is contended that adding an element of perceived class and continental culture to Melbourne dispels the idea that Australia is “a primitive backwater incapable of producing its own urban centres.” This is clearly stated in the Royal Arcade's architectural style, although Fung overlooks the fact that the architects responsible for the architecture of these sorts of laneways originated from Europe.

Additionally, Fung overlooks the intended purpose of these laneways in Melbourne's design: based on research conducted by Brown-May into the epistolary correspondence between Bourke and Hoddle (the people, not the streets) as well as into Hoddle's diary at the relevant time, the original intent of the laneways structure was to “prevent the creation of vehicle access over footpaths in the main streets.” Although the Arcade and other laneways have obviously been heavily updated since the days of Bourke and Hoddle, acknowledging its original design goal is important to understanding the Arcade as an artefact of communication. Now, of course, the Arcade is seen as a landmark of sorts, an element of heritage rather than just a thoroughfair. 

As a matter of fact, in Bell's article “In The Shadows”, published in The Age, describes the Royal Arcade of today as an attraction in of itself. Rather than a home to commuters, the Arcade, according to Bell, is a beacon for shoppers and tourists, housing multiple outlet and speciality stores. Bell cites Babushkas, a store that only carries Russian matroyshka dolls, as a store that's representative of the Arcade today, as well as pointing out that high-class and high-price chocolatier Koko Black thrives in a location such as the arcade.

From a design point of view, then, we can argue that the Royal Arcade can be described as a textbook laneway, originally designed as a thoroughfair, while also taking on its own personality as a centre for speciality retail and an architectural landmark.  

Artefact: Ghostpatrol

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Ghostpatrol, a self-taught artist from Hobart, is one Melbourne’s most famed street artists. Ghostpatrol utilizes a range of different artistic mediums in his work including fine ink drawing, stenciling, commissioned murals and traditional aerosol street art pieces.  His work is laden with childhood nostalgia with sinister and somewhat playful undertones. Graffiti art is an immediate response to the world around us, opening up channels of visual dialogue between the artist and the anonymous. Ghostpatrol’s artwork concerns creativity and community, not defacement and vandalism. Ghostpatrol may be regarded as a role model, or ‘king writer,’ (Hip Hop) for ‘toys’ or emerging graffiti artists, encouraging them to

progress from ‘tagging,’ and other ‘traditional’ forms of artwork traditionally seen as vandalism to modern, developed ‘pieces.’ As a design object, Ghostpatrol's art can be viewed as one of the purest forms of communication, sending clear messages rather than obscuring their meaning beyond functionality.

According to Bramwell, instead of creating an environment, graffiti artists are ‘responding to their environment, beautifying it, claiming it,’ typically to send a message or to simply state their presence in a certain area. Bramwell also discusses the work of the Graffiti Research Lab, or G.R.L., which Ghostpatrol is a large part of. The G.R.L. coerces the community to participate in graffiti art in order to better understand its purpose and uses. Admittedly, Bramwell is writing from the perspective of an art critic, ignoring the somewhat controversial nature of Ghostpatrol's work, but her urging for her readers to become passionate about street art is a clear indicator that, in some circles, Ghostpatrol's artwork can be seen as a legitimate piece of art, and as a design impact we can see that this has an impact on Melbourne as a communicating city.

It's worth noting the differences and controversies surrounding illegal graffiti and the legitimate “pieces” that Ghostpatrol creates. Collins classifies graffiti art into four different categories: toilet (on the inside of bathroom stalls), gang (graffiti emphasising a gang's presence), political (graffiti designed to make a political statement or a impart a social message), and community (complex street art, often legal or commissioned). Ghostpatrol's work, as a design object, is an intriguing prospect in this categorization, in that it firmly falls into the community area. This implies that it serves a purpose aesthetically, rather than being an eyesore. Collins' suggestions that these illegal genres of work slowly transition towards the acceptable also paints Ghostpatrol's work in a different light (pardon the pun): by being seen as a community artist, Ghostpatrol's work can be seen as slightly less organic and perhaps not as rawly communicative as the illegal forms of graffiti, yet it communicates more effectively by sheer virtue of being acceptable within an urban area.

So, design-wise, Ghostpatrol's work is both communicative and aesthetically pleasing, working within a city's boundaries rather than against them.Of course, this analysis of his work as a design object is lacking without input from Ghostpatrol himself.  Stephen's article in The Age covers his conversation with the man and the world of “drawing”, as he calls it, that Ghostpatrol moves in. According to Stephen's assessment, Ghostpatrol is an accomplished and skilled artist, describing his familiarity with drawing as “as natural as breathing”. Although the article explores the surface of this artform, the title alone is enough to add to our analysis of this artefact: 'Artists line up to prove that pen is mightier than mouse', referring of course to a computer mouse, indicates the graffiti artist's direct

interaction with their environment is natural, and more effective at communicating than computer-designed artforms. Thus, the hands-on organic nature imbues this object with a specific voice, a voice of an artist rather than a committee or machine. Ghostpatrol's work combines basic aesthetics with subtle communicative messages, underscored by the very fact that is hand-made. As a design object, this artefact both pleases and communicates within Melbourne. 

Artefact: Rod Laver Arena

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Rod Laver Arena, completed in 1988, is a host to multiple events over the course of the year. Originally constructed for the Australian Open as a part of the original National Tennis Centre complex and originally called Centre Court, in 2000 it was christened Rod Laver after the Australian tennis great.  This venue has many uses beyond tennis: high-profile music acts frequent the arena, most notably AC/DC, Lady Gaga and Britney Spears. Able to hold over 15,000 spectators, Rod Laver Arena was named the third highest grossing venue in the world. It's notable for its complex yet spacious structure and its versatility as a venue.

It's worth noting from a design perspective that, despite Rod Laver's status as a world-class venue, efforts are still being made to improve it from a sporting perspective. In an article published on Big Pond news last month, it's revealed that “Melbourne will become the

first Grand Slam host in the world to boast three undercover courts under a major redevelopment of Rod Laver Arena.” From a design standpoint, then, Rod Laver is not a historical landmark or heritage site, despite bearing the name of a historical figure. Instead, it grows and alters to fit the needs of its users: in this case, the growing importance of the Australian Open as an economic and social event in Melbourne (described by John Brumby as “the biggest annual sporting event in the southern hemisphere”, perhaps with a shade of hyperbole) has prompted alterations to the Arena. Rod Laver Arena, then, serves a far more specific purpose than some more historical landmarks, to be altered, as Melbourne demands. 

 However, although the Arena itself is alterable, some argue that elements of it are not. According to Kellett, the area in which the Australian Open is held, (of which Rod Laver constitutes a large portion), “already has some tournament specific heritage elements such as monuments of past players, and intangible stories, rituals and ceremonies.” Even though it is a multi-purpose arena, its original purpose and current name link it indelibly to the heritage of Australian tennis. This heritage is consistently being preserved, even as the design of the arena changes. From Kellett: “Tennis Australia had listed 16 strategic priorities, of which one is 'Strengthening, protecting and promoting the wonderful heritage of Australian tennis...” One can extrapolate, then, that even as the physical design of the Arena changes to suit our needs, it's impossible to erase the mental and symbolic elements that the Arena communicates to Melbourne. 

In the same vein, the goings-on at the Arena are constantly under media scrutiny due to their importance to Melbourne, and in the case of such events as the Australian Open, to the rest of the world. In fact, several years ago this led to concerns voiced by Stevenson, who argues that “Both sport and the associated images of sporting bodies that are routinely packaged for the consumption of international audiences are heavily gendered.”, specifically that men are given more attention than women. Despite Stevenson's unsubstantiated claims, the concept she puts forward is with noting from a design point of view, particularly with Rod Laver: as a design object gains history and increases in use, it runs the risk of being negatively associated with certain events, particularly if said events are granted heavy media coverage. A rather tenuous link could be drawn with the Texas Schoolbook Depository as an example: if some sort of equally catastrophic event occurred at or near Rod Laver Arena, it would forever be associated with that event, regardless of its other historical or design aspects. 

Speaking from a design point of view, Rod Laver Arena can be seen

as both a fluid and rigid communication artefact, able to be influenced by its users, history, and even the media. 

Artefact: Statue of Governor La Trobe

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This artefact, sculpted by Peter Corlett and located to the left of the main entrance to the State Library (located at 328 Swanston Street), is a commemorative monument of Governor Charles La Trobe, the Lieutenant Governor of Victoria from 1851-1854 and was unveiled on November 21st, 2006. The statue itself bears no engraving other than the obvious “La Trobe” on the base. La Trobe is well known for a set of documents sent to Melbourne shortly before his death, located inside the State Library itself. The establishment of this collection, in addition to his work in establishing early Victoria’s cultural institutions, is the central reason that this monument was erected. The statue and area around it is a very popular meeting point for students and other young people. 

Commemorative monuments such as this artefact have seen an increased proliferation in urban areas over the last 200 years. According to Johnson, statues such as Governor La Trobe can be designed in order for them to be effectively analyzed from a standpoint of class, ethnicity or religion, although such analysis is usually specific to a fault. An example given by Johnson is that of monuments commemorating the American Civil War: the statues

were analyzed as “reconciliation of northern and southern whites in the rules of a discourse which denied black memory and thus blurred the South’s defence [sic] of slavery.” From a design standpoint, the statue of Governor La Trobe can be analyzed in several different ways: based on his proximity to the library, the people of Melbourne could logically believe that he was instrumental in its construction, or perhaps donated an important historical artefact to it, or more generally that he was an academic. These views, although not altogether accurate or all-encompassing per se, are certainly one of the intentions of the statue as a design artefact. 

Statues as design objects don't solely serve the purpose of historical remembrance. According to Gouveia, et al, design objects such as monuments are an integral element in the concept of wayfinding: ““a process that involves the elaboration and implementation of action plans related to moving around in environments that are not necessarily familiar”. By seeing the statue as a stepping stone of sorts for the unfamiliar to navigate around, one can remove the perceived historical importance and focus on the statue's design itself. Nobody needs to know about Governor La Trobe, or even know his name, to navigate via the statue and wayfinding. 

In fact, it is arguable that the historical elements of a design object can and should take a backseat to its physical features. If we examine the unattributed article on the State Library of Victoria's website covering the unveiling of the statue, we can see that much of the history they present as being associated with Governor La Trobe is unsubstantiated and unreferenced. However, when considering the statue as a strict design object, this is secondary to how it is utilized in an urban landscape: in this case, as a proverbial star to navigate by and a meeting place.

Historical basis can be an important point in fully analyzing a design object, but, especially in the case of Governor La Trobe's statue, the key areas one should focus on are how the statue acts in an urban environment: in this case, as a waypoint and landmark.  

Closing NoteMelbourne, like all major cities, communicates something to its populace and the rest of the world through the often-unique design of its urban sprawl. Similarly, the artifacts within a city- such as its sporting stadiums, local art, and its historic landmarks- are also able to convey the feelings and attitudes of its residents. The design of The Royal Arcade, The Rod Laver Arena, and Governor LaTrobe’s statue communicates to the rest of the world Melbourne’s architectural inclinations, its love of sports, and its respect for history- in that order. Furthermore, the way these design objects

have evolved over time highlights how an artefacts design can reflect the changing attitudes of a city. Both the Royal Arcade and the statue of Governor La Trobe have adopted different communicative roles since their initial conception. The Royal Arcade, initially designed to simply “prevent the creation of vehicle access over footpaths in the main streets” has adapted to Melbourne’s modern identity, becoming a bohemian cultural destination- sporting a variety of coffee houses and specialty stores. Likewise, La Trobe’s statue, initially designed to honour the accomplishments of the now long deceased Governor- has become a popular meeting point for young people and students, as it is an easily recognizable waypoint. As Melbourne vies for the opportunity to host major sporting events such as the Soccer World Cup, stadiums like the Rod Laver Arena reflect this enthusiasm by expanding and improving their design. Finally, Melbourne’s gradual acceptance of ‘street art’ has allowed artists such as Ghostpatrol to thrive. Where once graffiti was seen as a form of debasement, it has gradually been absorbed into Melbourne’s overall design, and can be easily found down any of Melbourne’s laneways and alleys. All of the artifacts discussed above serve to show how the intended design of an object, whilst not changing aesthetically, is able to adapt and change to suit the values of its current community. As Melbourne’s social climate changes, so too does the way the city communicates itself through the design of its unique artifacts.

References

No author attributed, ‘La Trobe statue unveiled’ 21/11/06, http://www.slv.vic.gov.au/about/news/latest/211106.html , accessed 15/05/10

No Author Attributed, Rod Laver Arena Redevelopment |Australian Open 2010 | Bigpond News, 20/01/2010, BigPond News, viewed 15th April 2010, <http://bigpondnews.com/articles/AustralianOpen2010/2010/01/19/Rod_Laver_Arena_redevelopment_418932.html >.

Bell, E (February 23, 2010), 'In the Shadows'- The Age newspaper, available at http://www.theage.com.au/travel/in-the-shadows-20100212-nwtp.html . Accessed 23/5/2010

Brown-May, A (1998), 'The desire for a city: street space and images' from Melbourne Street Life, Melbourne: Australian Scholarly Publishing, pp.8-22

Fung, P. (2006), 'The seduction of the laneways: making Melbourne a “world city” ', Crossings 11(2): 1-12. Available at http://www.inasa.org/crossings/11_2/index.php?apply=fung

Gouveia, A, Farias, P and Gatto, P, ‘Letters and cities: reading the urban environment with the help of perception theories’, Visual Communication 2009, SAGE Publications

Johnson, N.C., 2002, “Mapping monuments: the shaping of public space and cultural identities” in Visual Communication, SAGE Publications, Pg 293-298

Rentschler, Ruth and Hede, Anne-Marie, Museum marketing: competing in the global marketplace, Chp 4; Major Case Study: Tennis Australia - what to do with a heritage collection of great significance, Pamm Kellett, viewed 15th April 2010, <http://books.google.com.au/books?hl=en&lr=&id=y3VZO0iAD6YC&oi=fnd&pg=PA125&dq=tennis+history+melbourne&ots=S04ED2XDoR&sig=t2zxBlNbZ0J3DRwYBSR3x4t8oOk#v=onepage&q=tennis%20history%20melbourne&f=false>

Stevenson, D, Journal of Sport & Social Issues Vol. 26, Women, Sport, and Globalization; Competing Discourses of Sexuality and Nation, 2003, Open University Press.

Charity Bramwell, 2008, ‘G.R.L. Giving People Opportunities’ to Tear Their City Apart Since 2005,’ Artlink, volume 28, p 60- 63 Andrew Collins, 1998, ‘Hip Hop Graffiti Culture,’ Alternative Law Journal, volume 23 #1, p 19-21 Andrew Stephens, 2010 ‘Artists line up to prove that pen is mightier than mouse,’ The Age, April 6