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Century Building:

The Century Building is a sleek white office tower located on the corner of Swanston and Little Collins Streets. Constructed between 1939 and 1940, it was designed by Marcus Barlow the architect responsible for the famed Manchester Unity Building some six years earlier.

Barlow designed the Century Building in the Streamline Moderne style, a style that originated in the United States where it was widely used in the design of sky scrapers. Barlow admired the skyscrapers of New York and Chicago and believed Melbourne needed to follow-suit.

Streamline Moderne grew out of the Art Deco movement, however, it was more pared back that its French cousin. It came to prominence between the two World Wars and was heavily influenced by the design of machines, aircraft, automobiles and ocean liners at the time which itself was informed by the principles of aerodynamics and ballistics. Designs featured rounded forms, slick polished surfaces and stepped horizontal lines. Designs gave the impression of speed and movement and conjured ideas of progress. They often displayed a subdued colour palette and lacked ornamentation. However, they still retained the Art Deco sense of luxury and glamour. Interiors showed a fondness for curved wood panelling, curved corner detailing and polished metal.

The exterior of the Century Building has a marvellous sense of vertical movement and grace thanks to its simple ribbed facade. Standing at the base of the building looking up allows one to experience this verticality in all its splendour.  

Each rib runs the full height of the building and is dressed in white terracotta faience cladding. In fact, the Century Building was the first in Australia to use white faience cladding. The ribs at the corner of Swanston and Little Collins Streets extend past the main structure to form a striking tower – a nod perhaps to its sibling structure down the road.

Metal framed windows and contrasting grey faience separate the ribs. When viewed from below, the grey faience has a lovely winged appearance that contrasts beautifully next to the straight vertical lines of the remaining facade.

The ground floor features a series of shops all of which are still in use today. Originally their exteriors were clad in beige travertine marble. Sadly, this remains on only a few. The shops are visually separated from the upper structure by a large, gracious streamlined aluminium verandah that is curved at the corner with a stepped, ribbed design.

Unfortunately, much of the interior has been altered over the years. The basement originally housed a newsreel cinema which has since made way for a live music venue. Similarly, the entrance foyer has been renovated since construction. However, the stairwell and elevator landings on each floor remain largely intact.

Stairwell walls are clad in the same beautiful marble as the ground floor exterior. The stairs themselves appear to be made from slabs of beige granite. Balustrading is constructed from steel and fine timber. Its design is streamlined with only minimal decoration.

Upon exiting the elevator on each floor visitors are greeted by almost floor to ceiling Sycamore panelled walls and deep maroon carpeting. The panelling curves gracefully at the corners and continues down the corridor. Fine horizontal ribbed detailing can be found where panels meet the bulkhead. In true Streamline Moderne style, the elevator doors, also panelled in Sycamore, are framed by rounded stainless steel.

In keeping with the sense of newness and progress characteristic of the Streamline Moderne movement, the Century Building was the first fully air-conditioned office building in Victoria.

While it may not be as famous as the Manchester Unity Building, the Century Building still holds great street presence. An elegant symbol of progress and Melbourne stepping into the modern age.

Bibliography:

“Art Deco Melbourne,” Beside the Yarra: Stories from Melbourne’s History, 2014, accessed April 2, 2018, http://marvmelb.blogspot.com.au/2014/02/art-deco-melbourne.html.

Heritage Council Victoria, “Century Building,” Heritage Council Victoria: Victorian Heritage Database, 2010, accessed April 2, 2018,http://vhd.heritagecouncil.vic.gov.au/places/2966.

Penny Craswell, “Manchester Unity Building,” ArchitectureAU, 2012, accessed April 2, 2018, https://architectureau.com/articles/manchester-unity-building/.

Robert Craig, “Streamlined Moderne,” Oxford Art Online, 2010, accessed April 2, 2018, http://www.oxfordartonline.com.ezproxy.lib.rmit.edu.au/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7002086096.

Stephanie Przybylek, “Streamline Moderne: Houses, Furniture & Architecture,” Study.com, 2003-2018, accessed April 2, 2018, https://study.com/academy/lesson/streamline-moderne-houses-furniture-architecture.html.

Swinburne University, “Art Dec/Streamline Moderne, 1930s (Melbourne Architecture),” Swinburne Commons, 2015, accessed April 2, 2018, https://commons.swinburne.edu.au/items/cfc4db0d-fa01-4aba-930a-ee2707e54ac2/1/.

Swinburne University, “Century Building (Melbourne Architecture),” Swinburne Commons, 2015, accessed April 2, 2018, https://commons.swinburne.edu.au/items/d7f1259d-71f9-4004-b424-faaf9ba17776/1/.

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The Forum Theatre / The Forum :

The Forum is an architectural and cultural icon. Located on the corner of Flinders and Russell Streets, when it opened in February 1929 it was known as The State Theatre, the largest picture theatre in the Southern Hemisphere. Today it operates as a live music and performance venue and while it has undergone some renovation in its time, it retains many of its original features. It is loved by many for its ornate exterior and fantastically dreamy interior.

The Forum was designed by American cinema architect John Eberson in conjunction with Melbourne architects Bohringer, Taylor and Johnson. The late 1920s was a boom time for cinema construction in Melbourne, driven by the popularity of cinema. By 1921 cinema had become the most popular form of entertainment in Australia. In 1928, talking pictures arrived, significantly boosting cinema attendance further.

Eberson was recruited by then theatre owners for his skill in creating ‘atmospheric’ theatre interiors. Popular throughout the United States at the time, these spaces attempted to recreate the atmosphere of an exotic garden and featured ceilings that gave the illusion of siting under a night sky.

The interior spaces of The Forum are lavish and stylistically diverse. In stark contrast to the geometric Art Deco style popular at the time, they incorporate elements of Classical and Renaissance Revival architecture with Baroque, Grotesque and Spanish Mission style influences.

Both the entrance foyer and main auditorium feature vibrant cerulean blue ceilings. Clever lighting and twinkling stars create the desired night time sky effect, bathing spaces in a flattering cool blue light.

The main auditorium was designed to feel like the garden of a Florentine villa or palace. To be in the space is something else - breathtaking! The walls and proscenium arch are highly decorative, adorned with a seemingly endless list of plaster features – e.g. flat and spiral pilasters topped with ionic capitals or connected by arches, bas relief panels, cartouche frames, faux loggia and candelabra wall sconces. Backlit alcoves containing plaster recreations of Greco-Roman sculptures and busts feature strongly. Intricate plaster mouldings containing flowers, crests, beading, mythical creatures, scrolling plants and vases bring all elements together.

Closer to the ceiling the walls are set back, the protruding structures topped with squat style colonnades, roman shell-like forms, faux terracotta roof tiles, additional Greco-Roman sculptures and a remarkable rotunda. When first constructed, fresh flowers and faux trees were placed among these structures to complete the garden aesthetic.

A stone brown textural finish has been applied to most surfaces no doubt to enhance the realistic, outdoor feeling of the space. Hints of red and green are apparent in some of the plaster detailing.

The walls in the entrance foyer repeat several stylistic features found in the auditorium. However, a standout characteristic is the recently restored mosaic floor that leads to two grand marble staircases on either side of the space. The mosaic is composed of three blue geometric shaped sections framed by thick black boarders on a background of brown tiles. The central section features an intricately detailed gargoyle, a gorgeous aspect that greets patrons as they enter.

Unlike the interior, the exterior of The Forum takes inspiration from Moorish Revival architecture, however, it is in no way less remarkable. The Moorish Revival style borrows elements from North African, Spanish and Islamic architecture such as minarets, domes, horseshoe arches, geometric patterns, etc.

The Flinders Street facade features a minaret modelled on one standing on a Turkish mosque in Cario. The beige pressed cement walls feature a geometric diamond pattern sectioned by slender barely sugar columns and horseshoe arched windows inset with delicate lacework. Horseshoe arched alcoves provide elaborate resting places for emerald green gargoyles similar in style to that found in the foyer.

However, one cannot discuss the exterior without mentioning the grand 61 metre corner clock tower complete with onion shaped green copper dome. The tower is especially exquisite, featuring almost full-length lace inset horseshoe arch windows complete with gargoyle detailing. Most certainly the cherry on top of this monumental architectural gift.

One could easily say The Forum is too much, an insult to the eyes. But, such judgement would be foolish, ignoring the story behind its construction. The Forum has to be experienced to be appreciated and understood. It provides a snapshot of a time long passed. Never again will such a building be brought into existence.

Image References:

Forum Auditorium, 2017, Forum Melbourne, accessed March 30, 2018, https://forummelbourne.com.au/events#venue.

Forum Foyer, 2017, Forum Melbourne, accessed March 30, 2018, https://forummelbourne.com.au/events#venue.

Bibliography:

Christopher Muscato, “Moorish Revival Architecture: Characteristics and Style,” Study.com, 2003-2018, accessed March 30, 2018, https://study.com/academy/lesson/moorish-revival-architecture-characteristics-style.html.

Heritage Council Victoria, “Former State Theatre,” Heritage Council Victoria: Victorian Heritage Database, 1999, accessed March 30, 2018,http://vhd.heritagecouncil.vic.gov.au/places/753.

Marriner Group, “About Us,” Forum Melbourne, 2017, accessed March 30, 2018, https://forummelbourne.com.au/about.

Screen Australia, “Cinema Industry Trends Admissions and Key Events, 1091-1932,” Screen Australia, 2016, accessed March 30, 2018, https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/historical-admissions/1901-1932.

“The Forgotten History of the Forum Theatre,” Beside the Yarra: Stories from Melbourne’s History, 2012, accessed March 30, 2018,http://marvmelb.blogspot.com.au/2012/11/the-forgotten-history-of-forum-theatre.html.

Victoria and Albert Museum, “Style Guide: Baroque,” Victoria and Albert Museum, 2016, accessed March 30, 2018, http://www.vam.ac.uk/content/articles/s/style-guide-baroque/.

Victoria and Albert Museum, “Style Guide: Classical and Renaissance Revival,” Victoria and Albert Museum, 2016, accessed March 30, 2018, http://www.vam.ac.uk/content/articles/s/style-guide-classical-and-renaissance-revival/.

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1 Spring Street / Shell House :

One Spring Street, more commonly known as Shell House, is a gracious office tower occupying an enviable position on the south-east corner of Melbourne’s CBD. Constructed between 1985 and 1989, it’s limited ornamentation, neutral colour palette, use of repetitive geometric forms and reliance on concrete, glass and granite – both inside and out – make it premier example of late International Style or, Modernist architecture. It’s architect, Harry Seidler, is classed as one of Australia’s best-known practitioners of Modernism.

Modernist style buildings typically feature asymmetrical compositions, basic geometric shapes, reinforced concrete, metal, large expanses of glass windows, limited ornamentation, white or cream exteriors/interiors and open interior spaces with minimal furnishings.

Modernism emerged in Europe during the 1920s before spreading across the globe. It is said to have emerged because of an increasing dislike for excessively decorative architecture and interiors, the development of new construction techniques and materials such as steel, glass, and reinforced concrete and, a desire to create a modern style of architecture for a modernising society.

The styles emphasis on basic materials and a clean, structural appearance saw it become popular during the 1950s for skyscraper construction. However, during the 1960s-70s Australian architects realised all glass exteriors were poorly suited to the climate. As such, more solid, textural concrete buildings began to emerge.

While Shell House is representative of the Modernist aesthetic, it’s unique curvilinear ‘S’ shape was influenced by the name of its original inhabitant, Royal Dutch Shell and, its location. Seidler had to consider the City Loop tunnel beneath the site, taking care with distribution of building load. He also wanted to take advantage of the site’s position and views across the Treasury Gardens and rail yards to Port Phillip Bay. He placed the core of the building containing lifts and services at the north side of the block and wrapped the floors around, thus creating the towers marvellous sweeping design, possibly its most cherished characteristic.

The facade is set back at various points to create sky gardens – a delightful feature that breaks up the repetitive pattern of rectangular concrete and glass. One could imagine said gardens also function as important points of intrigue for building inhabitants.

Another unique characteristic of Shell House is that it is set back from the street edge. This aspect enabled the creation of several public spaces, namely a grand entrance plaza, a trademark feature of Seidler’s tower designs and uncommon for a CBD tower. The plaza features a striking Modernist style sculpture, ‘Shell Mace’ by Charles Perry. The sculpture repeats the curves and feeling of movement found in the tower. It’s warm golden hue contrasts beautifully against the grey granite, brown stone and greenery.

While I could not gain access to the upper floors of Shell House, the entrance foyer gives a sense of the building’s interior. A mere cursory glance indicates this too aligns with the aesthetic of Modernism, perhaps with a corporate 1980s twist!

Thanks to the ingenuity of Siedler’s structural design the interior is devoid of support columns delivering a foyer that is open, light-filled and possesses grand proportions. Credit must also be given to the double height ceilings and the inclusion of a large, vibrant mural overlooking the foyer – ‘Pulpit Rock, Bathers and Muzzled Dog’ by Arthur Boyd. If you look closely at the top, left hand corner of the fifth image you can see the mural’s reflection in the glass windows.

Overall, the foyer is sleek with minimal furnishings besides a collection of cubic black leather armchairs and a structural black coffee table. Many of the lines, structures and materials found in the exterior plaza are repeated in the foyer, creating the feeling it is an extension of the outside. Distinction comes from a change in floor texture and the inclusion of a large wall of glass windows.

In June 2017 Shell House was added to the Victorian Heritage Register, recognised as an outstanding and well-preserved example of late Modernist architecture and interior design. This has cemented its status as building to be appreciated for years and decades to come.

Bibliography :

Belogolovskiĭ, V, 2014, Harry Seidler: Lifework, Rizzoli, New York, United States.

Hartoonian, G, 2011, “Harry Seidler: Revisiting Modernism,” Fabrications: The Journal of the Society of Architectural Historian, Australia and New Zealand, No. 1, pp. 30-53, accessed March 14, 2018, https://search-informit-com-au.ezproxy.lib.rmit.edu.au/documentSummary;res=IELHSS;dn=481974362959746.

Heritage Council Victoria, “1 Spring Street (Shell House),” Heritage Council Victoria: Victorian Heritage Database, 2017, accessed March 10, 2018, http://vhd.heritagecouncil.vic.gov.au/places/197961#timeline-title.

Mani Johnson, “Design 101: International Style,” A Beautiful Mess, 2015, accessed March 10, 2018, https://abeautifulmess.com/2015/10/design-style-101-international-style.html.

“Modernism,” Royal Institute of British Architects, accessed March 10, 2018, https://architecture.com/knowledge-and-resources/knowledge-landing-page/modernism.

Radio National, “No 1 Spring Street,” Historyonics, July 24, 2013, accessed March 14, 2018, http://www.abc.net.au/radionational/programs/drive/historyonics3a-no-1-spring-street/4841530.

Sharp, D, 1996, Sharp Angles: The Man Who Changed a Continent, The Architects Journal, No. 203, pp. 15, accessed March 10, 2018, https://search-proquest-com.ezproxy.lib.rmit.edu.au/artarchitecture/docview/1542820158/fulltext/347AFCA8A33B486DPQ/1?accountid=13552.

“Shell Headquarters,” Harry Seidler and Associates, accessed March 10, 2018, http://seidler.net.au/?id=29.

Stuart Harrison, “Shell House,” The Design Files, February 29, 2016, accessed March 10, 2018, http://thedesignfiles.net/2016/02/shell-house/.

Studio505arch, “Dylan Brady on Sacred Spaces,” YouTube, January 23, 2012, accessed March 14, 2018, https://www.youtube.com/watch?v=6Kt7isCztYU.

The Editors of Encyclopaedia Britannica, “International Style Architecture,” Encyclopaedia Britannica, 2018, accessed March 10, 2018, https://www.britannica.com/art/International-Style-architecture.

“What is Modernism,” Modernist Australia, 2008-2018, accessed March 14, 2018, http://modernistaustralia.com/what_is_modernism/. 

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