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Mitchell House

The Streamline Moderne style emerged in the 1930’s in a time of global political unrest and austere economic hardship.

Art deco, once celebrated in all its opulence and decadence was now considered to be ostentatious and to some extent, vulgar.

From these turbulent times, Streamline Moderne was born- A design movement that stripped back the ornateness of Art Deco in preference towards creating something more modern, with pure line and elegant form.  The streamline movement emphasized curves and strong horizontal lines taking inspiration from aerodynamic and industrial design to create a contemporary and new vernacular which allowed accessibility and affordability in products and design for the middle class.

Mitchell House was constructed in 1936 under notable architect Harry Norris, renowned for designing various Art Deco Streamline Moderne style commercial buildings in Melbourne including iconic buildings such as- Curtin House, the Nicholas Building, Block Court and Majorca House.

Commissioned by brush manufacturing and distribution firm, Thomas Mitchell & Company, the building took only 5 months to build and was quoted to have cost 25,000 pounds.

The Thomas Mitchell company resided in the building for only 3 years when in 1940 they vacated the building for the use of the Cartographic Section of the Australian Survey Corps and never moved back. Nowadays Mitchell House is under the protection of The Victorian Heritage Listing and is a bustling home to a wide array of creatives, architects, designers and boutique shops.

The exterior of Mitchell House is in mint condition featuring clean and elegant horizontal lines towering the length of its 6 story high concrete building.

Castle-like centre pillars tower the front centre of the building facade which is crowned with an elegant Art Deco style “Mitchell House” made of pressed brass.

The building is lined with wall to floor large rectangular metal frame glazed windows allowing plenty of natural light to flood the building which was a classic feature of Moderne Streamline design.

Much of the original interior has been refurbished since 1937, however, a few original fittings remain.

The concrete fire stairwell that spirals the side of the building sports the original stair rail and balustrade made from wrought iron with a polished hardwood finish,

On all 6 levels of the building, there is plaster vaulted curved ceiling forming an archway with strong line work inlaid in it.

Image 2- The vaulted curved ceiling

The alleyway entrance of the building features beautifully decorative green cast iron gates that sport “ The Victor” inlaid in the iron.

Image 3- Decorative green cast iron gates

The colour palette of the building is classically elegant with both the exterior and interior awash in ivory cream tipped with bottle minted green, dusty brass and the occasional pink.

The Mitchell Building is constructed from reinforced concrete with large rectangular glazed metal framed windows that run the length and breadth of the building.

The original shop fronts at the base of the building are trimmed in brass and bottle green faience tiles that undulate with the curve of the building, these tiles are a recurring theme used in both the interior exterior of the building.

Image 4- Green faience tiles 

Upon entering the foyer one will step on a bespoke terrazzo floor finished in mint green and candy pink with lines that correspond with the deep parallel lines of the arched barrel-vaulted ceiling above.

The rich greens of the floor compliment the bottle mint green faience tiles which frame the 2 elevators of the foyer.

Image 5- The terrazzo floor in the foyer entrance

The Elevators (one still in original condition) are made of wood and metal with brass fixtures, the original tenant's directory hangs on the wall beside them giving the visitor a sense of being transported back into the 1930’s.

Image 6-  The original tenant's directory in the foyer

Image 7- Micthell Street Entrance

Reference

Victorian Heritage Data Base. “Mitchell House”

http://vhd.heritagecouncil.vic.gov.au/places/2662. accessed 14/09/2018

“Streamline Moderne” https://en.wikipedia.org/wiki/Streamline_Moderne, accessed 14/09/2018

“Mitchell House” https://en.wikipedia.org/wiki/Mitchell_House,_Melbourne, accessed 14/09/2018

Yael, Sara. Photographs numbered 1 to 7 (as titled) of Mitchell House Building, Melbourne.  September 15th, 2018.

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Beneath The Dome

Photo 1- The State Library entrance

The Victorian State Library opened its doors in 1856.

It was the first public library to be built in Australia and was free entry to any members of the public over 14 years old “Provided they had clean hands”.

The State Library (originally named the Melbourne Public Library) was founded by a group of colonial liberals that aimed to create “A civic centre that was secular, democratic and enlightened, offering free access to self-improvement through learning” (Harriet, 2013).

Once the library site was established, the group announced a competition for the design of the building in which renowned architect of the time John Reed, won the prize.

Today the  State Library consists of 23 separate buildings and spans an entire city block, both above and underground. Underneath Swanston Street there lies intricate tunnels and vaults that host a valuable collection of over 2.5 million books, records, artefacts and archives of Victorian and Australian History.

Photo 2- Hand-carved detailing in the exterior using line and repetitive pattern.

The State Library is built the period of Neoclassical style architecture during the Melbourne Boom. The facade of the building boasts 8 beautifully fluted columns crowned with cascading grape leaves, mimicking the Greek Renaissance period.

Lining the wings of the building are arched windows with window ledges and beautiful line detail, all which are aligned in perfect symmetry with the exterior. The Interior and exterior of the library features hand-carved detailing in the architraves and ceiling using line and repetitive pattern.

Photo 3- Detailed plasterwork that adorns the walls of the dome

Motifs of the State Library commonly draw inspiration from nature, using animals, flowers and vines that adorn the walls and ceilings of the interior and exterior of the building in great detail.

The Dome Room exhibits floral wreaths inlaid into the ceiling and a crescent coat of arms at each of the two main doorways. There is a common theme of scrolls and circles in the plasterwork, almost of an Art Nouveau Style with sweeping curves and whiplash swirls.

The original wrought iron staircase spirals steeply from the bottom of the dome to the very top, and from above mimics The Fibonacci spiral theory.

Photo 4- The wrought iron staircase

The colour pallet of the interior building emulates the sandstone of the exterior- a wash of ivory whites, light browns, brass and creams sprinkled with a dressing of black marble.

Photo 5- The Dome ceiling

Designed by Norman G Bate, The Great Dome Reading room is a sight to behold with its majestic octagonal skylight dome spanning 34.75 m in height and diameter.

The Dome Room features a central hexagonal desk from which radiates lines of bespoke Queensland silky oak desks, inlaid with leather and brass fittings with matching heritage chairs. Hanging over the desks are traditional fluted green glass reading lamps giving off an ambient, comfortable and studious atmosphere.  

Photo 6- The Great Dome Reading room, view from above

The façade of the State Library is built using Tasmanian freestone, shipped from Kangaroo Head, Tasmania.  The original walls of the old courtyard are made of Victorian Bluestone.  

Photo 7- The old exterior of the building with stained glass windows leading to the Queens Hall.

The Great Dome is built from concrete and glass, and at the time was the largest dome built in the history of man. In 1959 the original glass ceiling was covered in copper sheeting and the floor in sawdust to prevent leaks, but since 2003 it has been refurbished to let in the light of the heavens in again. (Weekend Notes website, 2018)

The white marble staircase leading to the reading room is made from Bianco Carrara Marble, Tuscany, Italy, and over the years has been worn away in sections to create a beautiful patina feel.

The Queens Hall is the grandest of rooms in the library, featuring a twin set of angular staircases dressed entirely in Buchan Limestone originating from the Buchan area of Eastern Victoria. (State Library of Victoria website, 2018)

The Queens Room boasts of many lavish and intricate stained glass windows spanning over 3 metres in length, depicting crests and coats of arms in a colour palette of green, blue and golden.

Photo 8- The Queens Hall staircase dressed entirely in Buchan Limestone

This State Library is one of Victoria's greatest heritage monuments and gives one the feeling of scholarly grandeur yet at the same time, classical simplicity.

Photo 9- Beneath the Dome

For references,  please click on the link below.

https://docs.google.com/document/d/1oGJuK6R5SPZxuv1PGWCDkeEaOjj-8DAiVB6vFqELnCA/edit?usp=sharing

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MANCHESTER UNITY BUILDING

Photo 1: Exterior of the Manchester Unity Building.

The Manchester Unity Building is one of a kind in the Melbourne CBD. Construction began in 1931 until 1932 and its design is a combination of the Neo-Gothic (1905 to 1930) and Art Deco (1925 to 1937) styles.

Two key design elements of the building are line and shape. Line is used heavily both inside and outside of the building. It is used along the ceiling, skirting boards as well as in the intricate iron fretwork along the escalators. Shape is also a key feature of the art deco gothic building. There are many uses of geometric shape, particularly the structure of the building from the outside.  The corner tower’s elongated columns and flying buttresses were inspired by the Neo-Gothic skyscraper, the Chicago Tribune Building (Willis, 2018).

The building displays a range of high-quality materials; concrete, marble, aluminium, steel, stucco and tiles. The skeleton of the construction was formed with concrete-encased steel beams, while the exterior of the building features terracotta faience tiles that add sleekness to the overall facade.

The establishment consists of 125 tons of marble that has been utilised throughout, from structural to decorative use. Metal has been used around shop fronts as a framing tool and on the panelled elevator doors in an extravagant manner. Stucco is displayed in the elaborate ceiling design and along the corridors. Mosaic tiles have been incorporated on the ground floor around the entrance, and surround the shop fronts, creating a beautiful walkway that also navigates the flow of foot traffic.

Photo 2: Elaborate ceiling design.

Photo 3: Detailed metal work featuring repeated elements of line and shape.

Some of the key motifs featured  in the Manchester Unity Building are of the MU Monogram, meticulously handcrafted in mosaic tiles on the floor of the arcade, pressed into the metal doors of the elevator and repeated in gold foil on glass doors throughout the building.

The decorative plaster artistry on the ceilings of each level depict a recurring theme of the working Australian life and the virtues and motto of the MU order.

Throughout the interior and exterior of the building are decorative brass friezes in a triangular shaped pattern following the lines of the building, and the art deco style of the time.

Photo 4: Hand crafted mosaic floor tiles featuring the Manchester Unity monogram.

Photo 5: The magnificent plated elevator doors.

As the Manchester Unity Building was influenced by Art Deco and Neo-Gothic design, the colour palette used throughout the building is synonymous with the luxurious materials adopted by these movements within Australia (Heritage Council of Victoria, 2018).

The use of white and cream is widely reflected in the marble and stone tiling. Rich browns and golds are also prevalent in the frequent use of rosewood, as well as bronze and gold metal, which contrasts with the rich black metal used.

As a result of technological advancements of the time, a wide colour palette was integrated into decorative images represented in the tiling (Daly, 2016). The range of colours used consisted of blue, green, yellow and red and further enhanced the expressive quality of the space.

Photo 6: Rich browns and golds contrast with black metal detail in the Manchester Unity Building elevators.

Heavy oak furniture with carved legs and backs, substantial fabric upholstery and stained glass featured in Neo-Gothic period interiors.  However, the furniture and furnishings of the Manchester Unity Building were of the Art Deco aesthetic which utilised exotic woods such as mahogany and zebra wood.  Cabinetry was inlaid with brass, ivory or mother of pearl. Cross banding and marquetry also featured and, in keeping with the glamorous aesthetic, high gloss, lacquered and mirrored finishes were popular as was decorative etched glass.  Geometric patterns were commonly found on curtains and rugs, and fine leathers, animal skin and velour were used for upholstery. (Miller, 2011)

The Manchester Unity Building’s fully restored boardroom is a fine example of the period, featuring the original Queensland maple boardroom table cross banded with rosewood together with the original leather chairs (Manchester Unity Website, 2018) and marquetry buffet.

The Manchester Unity Building is a classic example of Neo-Gothic Art Deco design and its restoration and preservation has enriched our city’s architectural diversity.

Manchester Unity Logo on metal plated elevator door

For Bibliography please click on link below-https://docs.google.com/document/d/1tjSl6U93Vbheo-lCu8I7hcK9J3KUFHi6DrDHBkmlNBI/edit?usp=sharing