World Heritage Scanned Nomination

File Name: 1131.pdf UNESCO Region: ASIA AND THE PACIFIC ______

SITE NAME: Royal Exhibition Building and Carlton Gardens

DATE OF INSCRIPTION: 7th July 2004

STATE PARTY: AUSTRALIA

CRITERIA: C (ii)

DECISION OF THE WORLD HERITAGE COMMITTEE: Excerpt from the Report of the 28th Session of the World Heritage Committee

Criterion (ii): The Royal Exhibition Building and the surrounding Carlton Gardens, as the main extant survivors of a Palace of Industry and its setting, together reflect the global influence of the international exhibition movement of the 19th and early 20th centuries. The movement showcased technological innovation and change, which helped promote a rapid increase in industrialization and international trade through the exchange of knowledge and ideas.

BRIEF DESCRIPTIONS

The Royal Exhibition Building and its surrounding Carlton Gardens were designed for the great international exhibitions of 1880 and 1888 in Melbourne. The building and grounds were designed by Joseph Reed. The building is constructed of brick and timber, steel and slate. It combines elements from the Byzantine, Romanesque, Lombardic and Italian Renaissance styles. The property is typical of the international exhibition movement which saw over 50 exhibitions staged between 1851 and 1915 in venues including Paris, New York, Vienna, Calcutta, Kingston (Jamaica) and Santiago (Chile). All shared a common theme and aims: to chart material and moral progress through displays of industry from all nations

1.b State, Province or Region: Melbourne, Victoria

1.d Exact location: S37 48 22.0 E144 58 13.0

Nomination of ROYAL EXHIBITION BUILDING AND CARLTON GARDENS, MELBOURNE by the Government of Australia for Inscription on the World Heritage List.

Environment Australia 2002 CONTENTS

1 IDENTIFICATION OF THE PROPERTY 4 5FACTORS AFFECTING THE PROPERTY 58 1a Country 4 5a Development Pressures 58 1b State, Province or Region 4 5b Environmental Pressures 58 1c Name of the Property 4 5c Natural disasters and preparedness 58 1d Geographical coordinates to the nearest second 4 5d Visitor/tourism pressures 58 1e Maps and plans showing boundary of area proposed 5e Number of inhabitants within property 58 for inscription and of any buffer zone 5 1f Area of property proposed for inscription (ha) and 6 MONITORING 60 proposed buffer zone (ha) if any 5 6a Key indicators for measuring state of conservation 60 6b Administrative arrangements for monitoring the property 60 2JUSTIFICATION FOR INSCRIPTION 8 6c Results of previous reporting exercises 60 2a Statement of Significance 8 2b Comparative Analysis of Similar Sites 9 7 DOCUMENTATION 62 2c Authenticity 13 7a List of Illustrations, slides and video 62 2d Criteria under which inscription is proposed 7b Copies of property management plans and extracts and justification for inscription 18 of other plans relevant to the property 65 7c Bibliography 65 3DESCRIPTION 32 7d Addresses where inventory, records and archives are held 68 3a Description of the Property 32 3b History and Development 36 8 SIGNATURE ON BEHALF OF THE STATE PARTY 69 3c Form and date of the most recent records of the property 47 3d Present State of Conservation 48 APPENDIX 1 70 3e Policies and programs related to the presentation International Exhibitions, 1851-1915 70 and promotion of the property 48 APPENDIX 2 72 4 MANAGEMENT 52 The Burra Charter (The Australia ICOMOS Charter for 4a Ownership 52 Places of Cultural Significance) 72 4b Legal Status 52 4c Protective measures and means of implementing them 52 APPENDIX 3 80 4d Agencies with management authority 54 4e Level at which management is exercised 54 The History of International Exhibitions 80 4f Agreed plans relating to property 54 4g Sources and levels of finance 54 4h Sources of expertise and training in conservation and management techniques 55 4i Visitor facilities and statistics 55 4j Property management plan 55 4k Staffing levels 55

1 CHAPTER 1 IDENTIFICATION OF THE PROPERTY

3 CHAPTER 1 IDENTIFICATION OF THE PROPERTY

1A COUNTRY 1C NAME OF THE PROPERTY Australia Royal Exhibition Building and Carlton Gardens

1B STATE, PROVINCE OR REGION 1D GEOGRAPHICAL COORDINATES The City of Melbourne, capital of the State of TO THE NEAREST SECOND Victoria, Australia 37 degrees 48 minutes 22 seconds latitude south, 144 degrees 58 minutes 13 seconds longitude east

Map 1: Location of Royal Exhibition Building and Carlton Gardens, Melbourne, Australia.

Mildura

Swan Hill

Wangaratta Corryong Bendigo Bright

Ballarat Melbourne Mallacoota Healsville Orbost Hamilton Sale Warrnambool Morwell

Southern entrance, 1880. (1)

4 1E MAPS AND PLANS SHOWING BOUNDARY OF AREA PROPOSED FOR INSCRIPTION AND OF ANY BUFFER ZONE

See Maps 1 and 2 for location and plans indicating boundary of nominated area. Map 2: Site location of Royal Exhibition Building and Carlton Gardens Melbourne. B2 1F AREA OF PROPERTY PROPOSED B7 CARLTON STREET FOR INSCRIPTION (HA) AND B8 PROPOSED BUFFER ZONE (HA) B9 IF ANY B8 All of the Crown Land Reserve Rs 37130 (Royal P2 B8 Exhibition Building and Museum of Victoria) and Rs 9990 (Carlton Gardens), Crown allotment 19A, shown on Diagram 1501 held by the Executive Director of Heritage Victoria, being the land bounded by Rathdowne Street, Carlton Street, Nicholson Street and Victoria Street. The area of the entire property is twenty-six hectares. B4 B1 No buffer zone is proposed. The network of RATHDOWNE STREET B5

NICHOLSON STREET planning controls that exist is considered sufficient B6 B1 Royal Exhibition Building to provide protection for the nominated property. B8 B3 B2 Curator's Cottage B8 B3 Hochgurtel Fountain B4 French Fountain P4 P3 B5 Westgarth Drinking Fountain B6 Stawell Sandstone Sample P1 B7 Palisade Fence and Gate B8 Remnants of Bluestone Base VICTORIA STREET to Palisade Fence B8 B9 Iron Rod Fence

5 CHAPTER 2 JUSTIFICATION FOR INSCRIPTION

7 CHAPTER 2 JUSTIFICATION FOR INSCRIPTION

2A STATEMENT OF SIGNIFICANCE Of the many impressive buildings designed and built to The Royal Exhibition Building and Carlton Gardens hold these exhibitions, such as England’s Crystal Palace, have outstanding universal value as a rare surviving few survive, and of those surviving, even fewer retain manifestation of the international exhibition phenomenon authenticity in terms of original location and condition. of the late nineteenth and early twentieth centuries — a The Royal Exhibition Building, in its original setting of phenomenon that embodied ideas and processes that the Carlton Gardens, is one of these rare survivors. It has have profoundly affected modern societies. The Building added rarity, however. The Royal Exhibition Building was and Gardens, used for the international exhibitions of purpose-designed to be the Great Hall of the ‘Palace of 1880 and 1888, are unique in having maintained Industry’, the focal point of international exhibitions. authenticity of form and function through to the It is the only surviving example in the world of a Great present day. Hall from a major international exhibition. Furthermore, it has retained authenticity of function, continuing to be The international exhibition phenomenon reflected used for its original purpose of exhibitions and displays a dynamic and transitional phase in modern history, even today. This is a building to be treasured—a which saw the growth and spread of the benefits representative of the spectrum of international of industrialisation in the form of technological exhibition buildings that are now lost to the world. advancements and social progress, the transmission of ideas and cultural values around the world, and the The Royal Exhibition Building and Carlton Gardens has rapid development of an extensive international economy. further value in being broadly representative of the The exhibitions themselves brought people and ideas themes and architectural characteristics shared by together on a grand scale, in diverse locations around structures and sites used for international exhibitions. the world, and greatly enhanced international social and These include many of the important features that made economic links. They provided a mechanism for the the exhibitions so dramatic and effective, including axial world-wide exchange of goods, technology, ideas, culture planning, a dome, a great hall, giant entry portals, and values, and heralded a new era of trading networks versatile display spaces, and complementary gardens and and the modern international economy. The exhibitions viewing areas. The scale and grandeur of the building were a spectacular shopfront for the industrial revolution, reflects the values and aspirations attached to which shaped some of the greatest global social and industrialisation and its international face. The Royal economic transformations. Exhibition Building and Carlton Gardens have outstanding universal value as a tangible symbol of the international Despite the great impact of the international exhibition exhibition phenomenon for all these reasons. phenomenon, relatively few physical manifestations of it remain. These include the buildings and grounds that housed the exhibitions, and the exhibits themselves. They are tangible parts of the world’s heritage that connect us to a significant stage in human history.

Ceiling decoration, main dome. (2)

8 2B COMPARATIVE ANALYSIS The time period considered in this nomination for a OF SIMILAR SITES discussion of international exhibitions (also known as International exhibitions were a highly popular and ‘expositions’ and ‘world’s fairs’) begins in 1851, universally successful phenomenon of the second half of the acknowledged as the date of the first international nineteenth century and on in to the early twentieth exhibition, and ends at 1915. The latter date is chosen century. Despite this, there remain very few surviving because the First World War significantly affected the structures from the most significant examples of international economy and trade patterns (Kenwood and international exhibitions. About seventy international Lougheed 1992: 163) and, therefore, caused considerable exhibitions were held between 1851-1915 (see Appendix disruption to the international exhibition movement. 1), an average of about one per year. Not all of these The War is also viewed as marking a cut-off point were major exhibitions. Some were relatively small in size between the nineteenth century model of the and scale, with few countries among the international international exhibition and those from the remainder of exhibitors. Importantly, however, they were held in all the twentieth century (Pearson and Marshall 2002: 13). corners of the globe, from places as diverse as South The first international exhibition in 1851, at the Crystal Africa, Chile, Jamaica, Vietnam, Australia, the United Palace in the United Kingdom, comprised one large, States and various European countries, an indication that central pavilion. Later exhibitions normally comprised a this phenomenon was truly of an international nature. number of buildings covering different themes including The Royal Exhibition Building is the most outstanding industry, machinery, agriculture and art (Findling and Pelle surviving Great Hall of a Palace of Industry. No other 1990: 49). The key focus of international exhibitions was Great Hall from a Palace of Industry that displayed a central exhibition hall also known as the Palace of manufactured goods survives from any of the major Industry. The Palace of the Arts, found at most of the international exhibitions. Great Halls were the central later exhibitions, became increasingly popular and focus of the exhibitions. Surviving structures from some important within international exhibitions after France very small-scale exhibitions are known, including the introduced it into their exhibition of 1855. Over time, Great Hall from an exhibition in 1891 in Australia’s State other attractions to amuse and entertain visitors were also of Tasmania. However, these events had very limited added. However, it is the Palace of Industry, showcasing international representation in terms of exhibitors and industrial and technological progress, that best represents comparatively few visitors (Official Record of the the ideas being promoted by international exhibitions. Tasmanian International Exhibition 1892: 17). They are not considered to adequately reflect all the key characteristics of international exhibitions. These smaller exhibitions were important as a means of transmitting ideas and technologies to regional areas, rather than as participants in the truly international exchange that was so central to the exhibition movement. London’s Crystal Palace, 1851. (3)

9 There are only a few surviving buildings, monuments and France 1900 • Chicago 1893 substantial structures that were constructed for major • Grand and Petit Palais, constructed to house fine art — a Japanese Pagoda now in Silver Spring; international exhibitions in the date range under exhibitions at the Paris 1900 Exposition Universelle. — a Norwegian Stave Church now in Wisconsin; and consideration, 1851-1915. They are found in only a — a small building now near Unity Temple, Oak Park. handful of countries and include: UK 1901 The removal of these structures from their original • Glasgow Art Gallery and Museum, used for the 1901 locations has significantly diminished their authenticity and In-situ structures Glasgow International Exhibition to house fine art and none of these structures were central to the international USA 1876 museum displays. exhibitions of which they were part. They will therefore • Philadelphia Memorial Hall, constructed to house a fine not be considered further in this analysis. USA 1904 art collection as part of the Centennial Exhibition in With the exception of the Royal Exhibition Building in 1876. • St Louis Museum, which housed fine art displays in the 1904 Louisiana Purchase Exposition. Melbourne, the surviving buildings that remain in situ were constructed to display fine arts, or for purposes Australia 1880 and 1888 USA 1915 relatively peripheral to the central purpose of the • Royal Exhibition Building, constructed as the Great Hall international exhibition movement. The Eiffel Tower, while to display manufactured goods and technological • Palace of Fine Arts, San Francisco, constructed to house fine art displays in the 1915 Panama-Pacific Exposition. an extraordinary structure in its own right, was an exhibit, advances for the Melbourne International Exhibition in and is not considered representative of the buildings that 1880 and used for the Centennial International Relocated structures housed the international exhibitions. Exhibition, Melbourne, in 1888. Other structures that are known to have survived but have The Royal Exhibition Building is the world’s only surviving France 1889 and 1900 been relocated, are listed below: example of a building from a major exhibition whose • Eiffel Tower, constructed as an exhibit at the Paris 1889 • Philadelphia 1876 function was as the Great Hall of a Palace of Industry. Exposition Universelle and which also formed part of the — pieces of sculpture and exhibition buildings are now It is this purpose or function that best symbolises the Paris 1900 Exposition Universelle. located throughout Philadelphia and New Jersey. ideas and values behind the international exhibition phenomenon. The comparison with other sites presented USA 1893 • Paris 1878 here is based on two criteria: — the Swedish Pavilion, now in Sweden. • Chicago Museum of Science and Industry, built as the • historical function or use, as a measure of its symbolic Palace of Fine Arts for the 1893 World’s Columbian representativeness of the international exhibition Exposition. phenomenon; and • the authenticity of the sites and buildings. The architectural features of exhibition buildings form another broad theme that can be followed through the international exhibition era, but this aspect is of secondary importance to the main arguments for World Heritage listing. The following section describes and evaluates the other surviving international exhibition buildings and structures from this period.

Chicago Art Hall, 1893. (4)

10 France Seine’ in 1991. The listed property was inscribed under United Kingdom criteria (i), (ii) and (iv). Paris 1889 Glasgow 1901 The 1889 Paris Exposition Universelle was an extensive The Petit Palais functions as a museum. It has been The Glasgow International Exhibition of 1901 was international exhibition. It included a Main Building, Palais refurbished many times over the years and is currently the smaller than the French expositions. It included an des Industries Diverses, Hall of Agriculture, Pavilion de subject of a large restoration programme to be completed Industrial Hall, Machinery Hall (Findling and Pelle 1990: l’Aeronautique Militaire, Liberal Arts Palace and several at the end of 2003. The fabric of the Petit Palais has 173) and a hall to house fine arts and museum objects national pavilions (Mattie 1998: 77; Allwood 1977: 75- some authenticity although there are some sources that (Allwood 1977: 108). The latter was the City Museum 81). The most important structures from an architectural indicate that there are innumerable problems caused by and Art Gallery and is the only building from the and engineering point of view were the Eiffel Tower unsuitable refurbishing over the years (http://www.mairie- Exhibition that is extant. It was not purpose-built for and the Galerie des Machines. Architecturally and paris.fr/fr/la_mairie/executif/communiques/ancienne_mand the 1901 Exhibition but was instead built as a civic technologically they were direct successors to the 1851 ature/mandature_1995_2001/petitpalais.htm). building with funds raised from the successful 1888 Crystal Palace. The Eiffel Tower, constructed as an exhibit The Grand Palais, also a museum, has high authenticity, Glasgow International Exhibition, of which no buildings of the new technology, survives; the Galerie des Machines although it has been in poor condition. The central nave remain (Findling and Pelle 1990: 104). was dismantled in 1910 (Mattie 1998: 76). The other of the building was closed in 1993 because of structural The City Museum and Art Gallery building is included Exposition buildings did not survive. faults but conservation works began in 2001. The work on The Royal Commission on the Ancient and The Eiffel Tower, while unpopular with some at the time is due to be completed by 2005 (Pearson and Marshall Historical Monuments of Scotland’s (RCAHMS) of construction, is now acknowledged as a masterpiece. 2002: 28). National Monuments Record (NS56NE 329) as a It is inscribed on the World Heritage List as part of ‘Paris, While impressive and important buildings, retaining ‘Category A Listed Building’, which is the highest Banks of the Seine’. The fabric of the Eiffel Tower retains varying degrees of authenticity, the purpose of the two designation reflecting that the building is “of national a high level of authenticity. As an exhibit, rather than part Palais was to exhibit the arts. Therefore they do not have or international importance, either architectural or of the purpose-built infrastructure of the Exposition, it is the same symbolic representativeness of the core intent of historic, or fine little-altered examples of some not in the same category as the buildings being compared international exhibitions as that expressed by Melbourne’s particular period, style or building type” (Historic here. Royal Exhibition Building. Scotland website, Listing Categories, 2002). The building underwent major renovation work in Paris 1900 1988-90 (Historic Scotland website, RCAHMS, 2002) The 1900 Paris Exposition Universelle was even more and further extensive restoration works are due to take Petit Palais, Paris Art Hall, 1900. (5) extensive than the Exposition of 1889. A number of place, concluding in 2004 (McLean 2001). In the light buildings and structures from the 1889 Exposition, such as of the building’s inclusion on the RCAHMS list, it is the Eiffel Tower and Galerie des Machines, were re-used considered that this building retains a high level of and two new buildings—the Grand Palais and Petit Palais authenticity of fabric. In relation to international were constructed (Allwood 1977: 97). The latter were exhibitions, however, its function was not the primary built to house the fine arts exhibits and are representative focus of exhibitions and this property was not built of beaux-arts splendour (Findling and Pelle 1990: 158). specifically as an exhibition building, rather it was However, this purpose was not central to the international utilised during an exhibition. For these reasons, exhibition phenomenon. it is considered not to have the same symbolic representativeness, nor the authenticity, of other The Eiffel Tower remains today, but the Galerie des surviving international exhibition buildings. Machines was demolished. The Grand Palais and Petit Palais were constructed as permanent buildings and were the only ones to survive. They were both inscribed on the World Heritage List as part of the ‘Paris, Banks of the

11 United States of America site of the Ferris Wheel. The site for the Congress of the San Francisco 1915 World’s Religions, converted to the Art Institute of Fragments of the Palace of Fine Arts remain from the San Philadelphia 1876 Chicago, also survives (Appelbaum 1980: 103). Francisco Panama-Pacific Exposition of 1915. The Palace The major buildings at the 1876 Centennial Exhibition was designed by Bernard Maybeck in the style of a Roman were a Main Building, Machinery Hall, Memorial Hall and The Museum of Science and Industry was rebuilt and ruin, and was used to house exhibitions of work by living Horticultural Hall. Of these and the many other buildings, faced in limestone in 1933 and is considered to retain artists. The Palace was designed to last for one year, but the site retains the ancillary buildings of the Memorial little authenticity in relation to the original form. Rather, it it continued to function in its original state for a variety Hall, Ohio House and Fairmount Park (Findling and Pelle is ‘a huge stone edifice with roughly the same footprints of uses until 1964, by which time it had fallen into a state 1990: 62; Mattie 1998: 38). The Memorial Hall was as the original pavilion.’ (Stephen Kelley, personal of serious disrepair. In 1964 much of the Palace was designed to house the exhibition of fine arts. It is listed communication, in Pearson and Marshall 2002: 28). demolished and reconstructed out of concrete, although as a National Historic Landmark and is considered to retain None of these buildings could be interpreted as symbolic not using the original colour scheme, to create a more some degree of authenticity. Ohio House was one of of the central tenets of the international exhibition permanent structure. It is now part of the San Francisco twenty-four buildings constructed for use as resting places phenomenon. Exploratorium. It retains little authenticity and again, as and greeting places for dignitaries and visitors to the an original Palace of Fine Arts, it is not considered most Exhibition from other States (Findling and Pelle 1990: 60). St Louis 1904 symbolic of the international exhibition phenomenon. The functions of these buildings are not considered to be In terms of area, the 1904 St Louis International Exhibition was the most extensive known for the period 1851-1915. the most central and symbolic of the international General Summary exhibition phenomenon. Its buildings included main exhibition palaces and halls, State and national pavilions and cultural villages (Findling The primary focus of international exhibitions was the and Pelle 1990: 180-185). Only the Palace of Fine Arts— Great Hall, which displayed the new manufactured now the St Louis Art Museum—has survived (Mattie goods and exhibits of technological progress of the era. 1998: 120). Unlike many of the other Exhibition Of the surviving in-situ buildings from major international buildings, it was intended to be a permanent structure. exhibitions of the period 1851-1915, only one— Renovations and updates have been made throughout Melbourne’s Royal Exhibition Building—was a Great the last century, mainly to accommodate the needs of a Hall of a Palace of Industry. The Eiffel Tower, while modern arts institution, however, care has been taken to constructed to show the progress of technology, was itself keep the structure as close to the original design as an exhibit and did not function as the ceremonial Great possible. Hall or display the range of goods shown by central The Museum is not listed on the National Register of pavilions. The Royal Exhibition Building is thus an Historic Places or the National Trust for Historic extraordinary survival. Preservation (Adkisson, 2002, personal communication). Furthermore, of the buildings that have survived, only the Philadelphia, Art Hall, 1876. (6) As an original Palace of Fine Arts rather than of Industry, Philadelphia Memorial Hall in its original parkland setting of Fairmount Park is comparable in its authenticity and Chicago 1893 it is not considered most symbolic of the international exhibition phenomenon. setting to the Royal Exhibition Building in the Carlton Of the many buildings constructed for the 1893 Chicago Gardens. Both the buildings are in their original, if International Exhibition only one survives—the Palace of somewhat altered over time, setting of pleasure gardens. Fine Arts, now the Museum of Science and Industry, Of the two, only the Royal Exhibition Building was used as Jackson Park (Allwood 1977: 94). Some fragments of a Palace of Industry, and on this basis can be considered buildings and landscape elements also survive in Jackson most symbolic of the purpose of the international Park, including the stone arcade from a refectory building, exhibitions. Columbia basin, Wooded Island and the archaeological

12 2C AUTHENTICITY Exhibition Halls, following the model of the Crystal Palace Royal Exhibition Building (Meredith Gould in Hyde Park, were usually situated in public parkland that Architects 1997: 23-26) General was incorporated into the exhibition site design. The exhibition buildings as constructed in 1879 for the A number of issues relating to authenticity have been The Royal Exhibition Building and Carlton Gardens has Melbourne International Exhibition consisted of the main covered in the preceding section. It established that in exhibition hall, two annexes and a series of temporary situ survival of buildings from international exhibitions high authenticity, in that it largely retains the form it had as an international exhibition site. The site includes all halls. The permanent building comprised the Great Hall, is rare, and that a number of the properties that have which incorporated the architectural typology of survived do not have a high degree of authenticity. the land allotted to the exhibition site in 1879 and is still defined by the street pattern of the neighbouring suburbs international exhibitions, namely a dome, great portal International exhibitions in the second half of the and the bluestone plinth, the base of the fence that entries, viewing platforms, towers, fanlight windows, nineteenth and early twentieth century were intended to encircled the boundaries of the 1880 Exhibition site. cruciform floorplan, with the building integrated axially run for a limited period. Accordingly, temporary buildings with the garden layout. were more commonly constructed than permanent The Royal Exhibition Building has high authenticity as the only surviving Great Hall from a major exhibition, the key As a result of great overseas interest in exhibiting, two structures. Melbourne was unusual in that part of annexes were added to the east and west side of the site. the architectural brief for the 1880-1881 Melbourne building from international exhibitions, used for the central purpose of the international exhibition They were not part of the original tender. With the Great International Exhibition required a permanent Exhibition Hall, they formed a U-shaped court to the north. Hall to be the centrepiece of that exhibition, able to be phenomenon—to display manufactured goods and reused for future exhibitions. technological progress. The western and eastern annexes to be used by the major The Carlton Gardens also have high authenticity, as exhibiting countries of Britain, France, Germany, United they still retain the layout of the Exhibition Gardens as States and the host, Victoria, were constructed adjacent designed by Joseph Reed, the architect of the Royal to the hall. Temporary halls of timber and corrugated iron Exhibition Building, to enhance the setting of the building filled central and northern parts of the site. These were (Dunstan 1996: 94). The fountains designed and built for dismantled at the end of the exhibitions and reused for the Melbourne Exhibitions are still located on the site. a variety of purposes. One hall still survives in central Victoria as part of a tram museum. The authenticity of the building and gardens is strengthened by their continuing use as a vibrant site for large-scale exhibitions such as trade fairs and public events. It continues to serve the purpose for which it was constructed. Conservation controls in the low-scale inner urban residential zones to the north, east and west have enabled the landmark qualities of the dome to be retained despite the change in Melbourne’s population from 262 000 in 1880, to over 3.4 million in 2001.

Aerial photograph 2002, Detailed information on the authenticity of the Royal Site plan, 1880. (7) Exhibition Building and associated Carlton Gardens, Melbourne, is provided below (Meredith Gould Architects 1997: 22-26; Allom Lovell 1999; John Patrick & Allom Lovell 2002). Royal Exhibition Building, skyline from Melbourne Central Business District, October 2002. (8)

13 The west annex was used at the 1888-1889 Centennial timber of the dome viewing deck replaced by galvanised additions have been undertaken in accordance with the International Exhibition as a machinery hall. It was later steel stairs and platforms. One fanlight was damaged and Conservation Management Plan. To accommodate fire converted to accommodate the Parliament of Victoria in has been replaced. The other three fanlights above each regulations, the timber staircases between the ground 1901, for the period 1901-1927, while the new Federal entrance portal are original. and first floor balconies have been replaced with concrete, Parliament met in the State Parliament Building. The west probably early in the twentieth century. One original In 1880 the window and door joinery were painted green annex was altered many times during the twentieth timber stair survives, giving access to the basement, and and the rendered walls were intended to be left in their century, until its demolition during the 1960s. The east the timber stair to the observation deck also survives off-white unpainted form. The combined effects of annex, also used as a machinery hall in the 1888-1889 intact. Another small timber stair inside the south portal trams, horses and carriages and industrial pollution Centennial International Exhibition, was part demolished is also intact. With the exception of the flooring and then discoloured the exterior surface of the building. in the 1950s, with the remainder demolished in 1979 for services, the majority of the materials of the interior are It was painted for the first time in 1888 and on several the construction of a convention centre. substantially intact. subsequent occasions throughout the twentieth century. In the 1960s and 1970s, two additional structures were The octagonal drum of the dome was painted off white The 1880 interior colour scheme was replaced with a new attached to the north external elevation of the Great Hall. to match the 1880 finish in 1994. The bulk of the scheme for the 1888 Exhibition and again with a third These have now been removed and the original structure exterior was last painted a similar colour in 2000. elaborate scheme to celebrate the opening of the first repaired. The remainder of the exterior has survived Overall, the materials and form of the exterior are Australian Parliament in 1901. In the twentieth century, substantially as constructed in 1880, except for services substantially intact. many monotone repaintings occurred but throughout, attachments and minor alterations to glazing. As part of the four 1880 murals representing the Arts and Apart from one bank of toilets, a boardroom and a the dome and roof restoration works undertaken in 1992- Manufacturers remained, located prominently in the kiosk, which have been built into the extremities of the 1994, the slate roof was stripped and re-laid, decayed pendentives of the dome. In 1992, an investigation of the balconies, the interior structural form remains substantially gutters replaced and some corrugated roofing replaced three previous schemes was undertaken by conservators. as constructed in 1880. A lift has been installed within to match the original. Missing ornamentation has been While the ceiling had been painted four times, parts of one of the stairwells at the western end of the building reinstated around the parapet line. The decayed dome the ground floor walls had over 25 layers of paint with and another is planned for the north entrance. These ring beam has been replaced by concrete and decayed

Permanent building viewed from Nicholson Street in 1880. (9) Permanent building in 2002. (10)

14 evidence of an earlier scheme burnt off. Of the three major schemes, the elaborate murals to the lunettes and the crossing of the dome of 1901 had survived in the most complete state. This scheme was selected for the major conservation and restoration project completed in 1994. The existing interior colour scheme reflects this 1901 date. Copies of the original 1880 gasoliers and the 1888 electric lights were installed in 1994 and discreet recessed lights installed to the balcony ceilings. A major services upgrade occurred in 1984 with the insertion of a 3-metre wide services tunnel below the nave floor and accessed from the basement. Power and other services could then be accessed in the hall via timber floor access hatches. The baltic pine strip flooring was replaced with cypress pine in 95% of the hall and balconies as part of the service tunnel works. The northern façade was restored and painted in 2001. As part of the works, original doorways were reinstated. The Fincham organ from 1880 and the associated dais were removed in 1965. An early boardroom table and chairs used by the Exhibition Trustees, which may be part of the 1880 works, survive in the building. Conservation works have been undertaken to the Royal Exhibition Building to enable it to continue to be used as a major exhibition hall. All conservation works since 1987 have been in accordance with the principles set out in the Australia ICOMOS Charter for the Conservation of Places of Cultural Significance (Burra Charter), adopted by Australia ICOMOS to assist in the conservation of heritage places (Appendix 2).

The Carlton Gardens (Meredith Gould Architects 1997, 22-23) The Carlton Gardens consists of the axial garden layout in the southern part of the site and the northern garden, which echoes that of the southern garden and which was landscaped after the close of the exhibitions. The entire block, bound by Victoria, Rathdowne, Carlton and Nicholson Streets at the edge of the centre of the city The Grand Allée to the southern entrance and the Melbourne of Melbourne remains intact, as was originally designated International Exhibition fountain Hochgurtel), 1997. (11)

15 by the Victorian Parliament in 1878 (Dunstan 1996: 37). Centennial International Exhibition has also been retained the diagonal avenues of chestnut-leaved oak and Dutch The stone plinth of the perimeter fence constructed in (though not in its original location). elm have in fact prospered. Some pathways have been 1880 remains to most of the site, and a small section removed or had their alignment changed near the Authentic components of the South Garden include the complete with elaborate iron palisade survives in the Rathdowne Street entrance to the Museum but most of path layout, tree clumps and central avenues, lawn areas north-west corner. Wrought iron fences matching the these had terminated in the previous car park, which the and two lakes (in reduced size), originally installed as both shrub border fences of 1880 survive in the northern new Museum replaced. While contrasting in its bold, ornamental features and reservoirs in the event of fire in garden. These would have been intended to be modern design, the Museum maintains continuity of the building. The 1880 parterres have been removed, relocatable, and may be from the 1880s design. function at the site, as a building also designed for although the path system between them remains. exhibitions. The garden surrounding the Royal Exhibition Building The unity of the symmetrical design with its use of axial has been developed at various dates. The broad planning views and central focus, in particular the grand avenue, The North Garden was designed to be a complementary of the site and its boundaries relate to an 1852 land southern and eastern forecourts and French and landscape that would be reinstated after the removal of allocation. During the 1880 and 1888 international Hochgurtel Fountains, are integral elements of the the temporary halls in the northern portion of the site. exhibitions the southern portion of the garden provided original 1880 scheme. The garden, with its main east-west path and treed the site for the pleasure garden that contained exhibits avenues of oak and elm, has high authenticity as restored The northern portion of Melbourne’s 1880 exhibition site during these events. The South Carlton Gardens, as it following the 1880-1881 Melbourne International was covered by temporary exhibition annexes during the is now known, continues to be used for parkland and Exhibition, and then as reinstated following the 1888- 1880 international exhibition. It was designed by exhibition purposes. 1889 Centennial International Exhibition. Notable Hodgkinson to become a complementary landscape to elements include the remnants of the iron palisade This Garden has relatively high integrity to the 1880s the building, once the temporary pavilions were removed. fence and gate. Exhibition period, including the central east-west spine Parts of this North Garden, essentially the main east-west and adjacent floral carpet bedding, the circular path and some trees, are remnants of the 1880 and The tree canopy throughout the Gardens is generally arrangement of the Melbourne Exhibition Fountain (later earlier 1855 La Trobe Bateman layout. Generally, it has in fair to good condition. The aging nature of the tree called Hochgurtel) and the French Fountain surrounded moderate to high integrity, being restored in line with boulevards in the Gardens (over 120 years old) indicates by bedding. The Westgarth Fountain from the 1888 Hodgkinson’s 1882 plan, following the demolition of the that plans to replace the existing tree stock will need to Royal Exhibition Building and Carlton Gardens, temporary annexes after the 1888 Exhibition had finished. be undertaken within the next decade. October 2002. (12). The central section of the Royal Exhibition Building and Two fountains (the Melbourne Exhibition, later the Carlton Gardens site contains the Great Hall, the main Hochgurtel fountain, and the French fountain), remain exhibition building of 1880. Part of the land was used, from the original garden features and sculptures, and the for a short period, as a recreational oval and for a 1888 drinking fountain (Westgarth fountain) also remains. grandstand, later for exhibition buildings and more The overall integrity of the garden, given the elapse of recently as a car park around the 1880 building. This is one hundred and twenty years, is highest for the South now the site of Melbourne’s new State museum. All the Garden, less so for the North Garden and low for the significant trees, possibly from the post 1888 rectification, small areas in front of the east and west building entries. have survived here, otherwise this central area has The more ephemeral ornamental garden features are constantly changed to suit its varied uses. Significant substantially lost, although documentation survives. trees have been retained in the construction of the new The formal, ornamental palace garden, which is the Museum, which was completed in 2000. context for the Palace of Industry, is substantially intact in The construction of the new Melbourne Museum on form and in its treed avenues. The aesthetic significance the northern side of the Royal Exhibition Building has not of the Carlton Gardens lies in its nineteenth century had a deleterious effect on the North Garden, as initially garden style, including the virtually intact path system, feared. Careful root pruning, care during construction the high numbers of trees extant on the site from the and an improved soil moisture regime have ensured that 1880s and 1890 layout, reconstructed parterre garden

16 beds, significant avenues including the southern carriage The whole of the site boundary for the 1880-1881 been replaced by the third decorative scheme of 1901, drive and ‘Grand Allée’, specimen and clusters of trees, Melbourne International Exhibition is still defined by however, parts of the 1880 murals are still intact. two small lakes and three fountains. The area as a whole the bluestone plinth of the original perimeter fence. The formal ornamental palace garden, which was the is a significant demonstration of the Gardenesque style. The 1880 Great Hall survives substantially intact in its context for the “Palace of Industry”, is substantially intact materials and structural form, internally and externally, in form and in its treed avenues. The feature entrance Summary and continues to be used as a vibrant exhibition centre fountain of 1880, the French fountain, and a granite The Royal Exhibition Building and Carlton Gardens today, thus demonstrating authenticity also in terms of drinking fountain of 1888 are the only elements of the demonstrate high authenticity as a place where function. The major typological elements of an garden ornamentation that survive to the present day. international exhibitions were held in the late nineteenth international exhibition Great Hall such as a dome, To the north of the site, the broad tree lined avenues century. cruciform floor plan, towers, and great portal entries, and lawns, which were reinstated in the park after the remain intact. The ornate internal paintings have mostly exhibition closed, survive to their 1882 design.

Melbourne International Exhibition in the main building, 1880. (13) International Flower Show, 1997. (14)

17 2D CRITERIA UNDER WHICH Criterion (ii) structures of the twentieth century. International INSCRIPTION IS PROPOSED Criterion (ii): exhibit an important interchange of human exhibitions were also nodes for the international AND JUSTIFICATION FOR values, over a span of time or within a cultural area of the interchange of the human values associated with these INSCRIPTION world, on developments in architecture or technology, economic and social changes, such as those of progress, learning, and emerging nationalism. They had a moral as Under the categories set out in Article 1 of the monumental arts, town-planning or landscape design. well as an industrial purpose (Briggs 1970: 48) Convention Concerning the Protection of the World The Royal Exhibition Building, in its original setting of the Cultural and Natural Heritage (the World Heritage Carlton Gardens, is an outstanding surviving manifestation The Royal Exhibition Building, a rare and outstanding Convention) the Royal Exhibition Building fulfils the of the international exhibition movement of the example of a Great Hall that exhibited manufactured definition of ‘building’ and the Carlton Gardens fulfils the nineteenth century and early twentieth century. goods and technologies from a significant international definition of ‘site’. Together, the Royal Exhibition Building This movement both reflected and promoted the exhibition, stands as an exceptional testimony to this and the Carlton Gardens meet criteria (ii), (iv) and (vi) set developments in technology and the associated great interchange of human values and developments in out in paragraph 24 of the Operational Guidelines for the international growth in trade and industrialisation that technology and industrialisation that were fundamental Implementation of the World Heritage Convention, as occurred in the later part of the nineteenth century, and to the international exhibition movement. follows: laid the foundations of modernism and the economic

Stand at the Centennial International Exhibition, 1888. (15) The German Pavilion, 1880. (17)

“Victoria Welcomes All Nations” – the entrance to the Grand Avenue of Nations from the Great Hall. 1888. (16)

18 The international exhibition phenomenon spread through of the international exhibition phenomenon at the apex Europe and much of the world from the middle of the of the Industrial Revolution. The international exhibitions nineteenth century. In addition to the practical role of provided an early opportunity for the mass international promoting trade and exchange of developments in exchange of technological developments and ideas that technology, the international exhibitions were designed would have a dramatic effect on economic, social and to showcase the achievements of the nineteenth century cultural life. Many exhibitions were held in the United industrial age and the benefits of being part of the new States and Europe; others, reflecting the international international economy. In effect, the international reach of the movement and the values it represented, exhibitions were the ‘shopfront’ of the Industrial were held in colonies and emerging nations in Asia, Revolution. Australasia, Central America, South America, the Caribbean and Africa. Progress, industrialisation and a Set typically within complementary landscaped gardens, sense of “brotherhood” were all linked (Briggs 2002: 60) the Royal Exhibition Building was a venue for that important interchange of human values, a characteristic

The Armament Court, 1888. (20)

Front of the Swiss Court, Main Avenue, 1880. (18) Entrance, United States Court, 1888. (19)

19 The international exhibition movement, typified by the Education and its connection to scientific, cultural and Royal Exhibition Building, also exhibited the interchange technological development was another value being The specially of values relating to nationalism and progress. While promoted. The international exhibitions were both installed “safety international exhibitions were an opportunity for colonies market-places and centres of learning: many had explicit lift”, 1888. (21) or nations to demonstrate to the world their achievements educational purposes (Briggs 2002: 67). Each exhibition in the science and arts, and their economic power, they event celebrated humanity’s innate curiosity about the were also venues for the presentation of social and world, ingenuity and belief in the family of nations cultural values, such as personal and national industry, reaping the benefits of scientific and cultural progress. which were seen to be part of a universal progress that The exhibition movement reflected the nineteenth technology could provide. The Royal Exhibition Building century’s passionate interest in the acquisition of represents these concepts of nationalistic pride and knowledge and using it for the betterment of mankind. competition on the one hand, and the perceptions “Industry is a means and not an end” (Huxley 1881 in of utopian ideals and internationalism on the other. Johnson 1964: 357). These beliefs and aspirations were implicit in the selection of material culture on display.

Victorian locomotives, 1888. (23) Interior of the French Court, 1888. (24)

The Exhibition by night, 1888. (22)

20 Huge numbers of exhibition visitors embraced these 2002: 34). The industrial revolution was perceived in the The International Exhibition Movement and messages and shared them upon their return home. nineteenth century, as stated by Samuel Smiles, to enable Technological Progress ‘the betterment of the species’ (Briggs 1983: 190). Ideas and values were disseminated through the display The international exhibition movement was a product of and promotion of developments in industrial technology, The significance of the Royal Exhibition Building against the Industrial Revolution, a phenomenon that originated manufactured goods, the arts and cultural tableaux. this criterion relates to it being a symbolic representation in Great Britain and which, by the end of the nineteenth A key value was the utopian concept of civilising progress of the central and catalytic role of the international century, had spread throughout the world. through technological advancement (Pearson & Marshall exhibition movement in fostering the development and Industrialisation was a process that fundamentally adoption of industrialisation and new technologies transformed agrarian economies and created the world’s throughout the world, and the associated social first industrial societies (Meredith and Dyster 1999: 27). and cultural values and ideas that were transmitted It was the foundation of the modern world and marked to societies in a process of internationalisation. the most extensive economic and social change the world This is described more fully below. had seen. The Industrial Revolution saw the number of manufactured objects in circulation within countries Ground Plan of the Melbourne Centennial increase dramatically. These new goods were produced International Exhibition 1880. (27)

caption

(Above) Timber trophy – New Zealand exhibit, 1888. (25)

View of the British Engineering Court. Centennial International exhibition 1888. (26)

21 through a reorganisation of production, namely that of electricity as a new invention at previous international international exhibition movement—the showcasing of machine production in factories using inanimate sources exhibitions such as the 1878 Paris Exposition. International industrial and technological progress, and the significant, of mechanised power. These changes transformed exhibitions gave form and substance to the meaning of global interchange of human values and ideas that took economy and society. modernity (Rydell and Gwinn 1994: 8) and they marked place during these events. The technologies, values and the birth of consumer society (Benedict 1983: 2). ideas associated with this movement had lasting impacts The impact on all aspects of society was profound, on the development of modern society. perhaps most obviously in the material wealth The Royal Exhibition Building as a Symbol of industrialisation engendered, though the distribution Most of this building survives in its original form, in its the International Exhibition Movement of the material benefits of the revolution was far from original, purpose-designed parkland setting of the Carlton The international exhibition movement of the nineteenth equal within societies (Meredith and Dyster 1999: 27-28). Gardens, and therefore retains a high level of authenticity. and early twentieth centuries was significant for its role in An extensive international economy emerged during the In terms of continuity of function, the Royal Exhibition the global dissemination of goods, technologies, values nineteenth century, being based on the expansion of Building has been used as a general exhibition hall since and ideas, setting trends that became the foundations for world trade, capital flows, migration, communications its construction, through to the present day. This is today’s modern world. Despite this, few material remains and business (Meredith and Dyster 1999: 28). unusual for surviving international exhibition buildings in of the era survive. Each exhibition was temporary. Most other parts of the world, that are either no longer used as In this rapidly changing world, the role of international buildings were not designed to remain once the exhibition exhibition halls or have a very specialised display function exhibitions was to showcase globally the advance came to an end. The garden ornamentation, which as art galleries, for example. The authenticity of the of technological progress, among other things. formed the settings of many of the exhibition buildings, building and gardens has ensured its association with the Four developments dictated the shape of international was often ephemeral and few examples of the parkland movement remains substantial (Pearson & Marshall 2002: exhibitions and all of them related to the Industrial setting of the buildings have survived. 35). In the words of Emeritus Professor Asa Briggs, the Revolution — mass production, prefabrication, mass Of the 70 exhibitions calling themselves ‘international’ Royal Exhibition Building is one that has caught the communications and urbanisation (Greenhalgh 1988: that were held between 1851 and 1915, nine major essence of the international exhibition era (Briggs 142). The focus of the international exhibition movement exhibitions have some buildings that have survived that 2002:14). was industrial trade and the upward progress of industrial are also in-situ (Philadelphia 1876, Melbourne 1880 and civilization (Allwood 1977: 8). 1888, Chicago 1893, Paris 1889 and 1900, Glasgow Pottery ware under the dome of the Melbourne International exhibitions introduced to large audiences 1901, St Louis 1904, San Francisco 1915). Of these International Exhibition 1880-81. (28) many products that we, in our modern society, now take buildings, three (the Eiffel Tower, Paris 1889 and the Petit for granted. They included the elevator (Dublin 1853), the Palais and the Grand Palais, Paris 1900) are inscribed on sewing machine, silver electroplating and aluminium (Paris the World Heritage List (as part of the ‘Paris, Banks of the 1855), the calculating machine (London 1862), telegraphy Seine’ property inscribed 1991). and innovations in steel production, (Paris 1867), the The Royal Exhibition Building in Melbourne is the only telephone (Philadelphia 1876), outdoor electric lighting, surviving ‘Palace of Industry’ Great Hall from a significant the typewriter and the phonograph (Paris 1878), the international exhibition of the nineteenth and early gas-powered automobile (Paris 1889), motion pictures twentieth centuries. Constructed in 1880, it is an (Paris 1900), controlled flight and the wireless telegraph enduring monument to the international exhibition (St Louis 1904) and Kodachrome photographs (San phenomenon. The building was the centrepiece of Francisco 1915) (World’s Fairs Expos Q&A website, the Palace of Industry at the Melbourne International 22 July 2002; Findling and Pelle 1990: 19, 39, 68). Exhibitions of 1880 and 1888, and no comparable Demonstrating the spread of industrial and technological examples of a Palace of Industry exhibition hall remain progress via the exhibitions, the Melbourne 1888 from any of the important international exhibitions of the International Exhibition was the first to install electrical period under consideration. lighting to enable the exhibition to be opened at night The Royal Exhibition Building has outstanding universal (Dunstan 1996: 200), following on from the displays of value because it symbolises the central purpose of the

22 Criterion (iv) Criterion (iv): be an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates (a) significant stage(s) in human history. The Royal Exhibition Building in its garden setting is an outstanding example of a type of building—international exhibition buildings—that illustrate the development of an international industrial economy and society in the late Coloured tile made nineteenth and early twentieth centuries. in England, 1880. (33) The Royal Exhibition Building and Carlton Gardens are a type of building and landscape associated with the international exhibition movement, a movement that was both a reflection and a driver of a period of rapid industrialisation and development of international trade and economy. This period of transformation and internationalisation had a profound impact, essentially shaping today’s world. It was a significant stage in human history, as noted in the discussion relating to Criterion (ii), which focused on the interchange in human values Model of the first practical through developments in industrialisation and technology. vessel built for, and Other aspects of the how the property meets Criterion (iv) powered by, a steam are described below. engine, 1888. (34) New South Wales and Victoria stands, 1880. (29) British stands under the dome, 1880. (31)

Model power loom, 1888. (30) Turkey red cotton yarn, 1888. (32)

23 A significant stage in human history important events held in the nineteenth and early sustained efforts to hold these events during this period, (Pearson and Marshall 2002: 39) twentieth centuries (ibid). The first, held in 1851 at the and on the huge contemporary interest shown in them. The era of the nineteenth century and early twentieth Crystal Palace, Hyde Park, London, saw more than six This commitment and response demonstrate a strong century international exhibitions was relatively short million visitors (Findling and Pelle 1990: 376). Visitors to belief in the economic, national and cultural benefits of (1851-1915), but the changes to society and economy the Paris Exhibition of 1878 totalled more than sixteen industrialisation, a primary focus of the international that were initiated in that time were truly significant. million (ibid)—equivalent to 43 per cent of France’s exhibitions. population (Pearson and Marshall 2002: 15). The Paris The rapidity with which these ideas and developments While this assessment considers only the nineteenth Exhibition of 1900 saw a remarkable attendance of fifty took hold and subsequently multiplied in their effect century and early twentieth century international —one million visitors (Findling and Pelle: Appendix B). throughout the twentieth century, becoming a dominant exhibitions, these events were the start of a continuing, force, is a remarkable phenomenon, and that period has For international exhibitions held in America, the highest evolving history of international exhibitions that can be outstanding universal value as a significant stage in visitor figures amounted to around 22 per cent of the seen today. The Royal Exhibition Building in its original human history. population (Dunstan 1996: 18). The 1880 Melbourne Carlton Gardens setting is the only surviving international The international exhibitions were a new and distinctive Exhibition saw around 1.5 million people visit at a time exhibition building from the major exhibitions to have form of international marketing and promotion with when the population of the Australian colonies was only continued to function as an exhibition hall from its wide-ranging displays of goods from many countries, 2.2 million. Higher attendance records were achieved at inception into the present. This rare survival of the showing the results of technological innovation and the 1888 Melbourne Exhibition when 2.2 million visitors international exhibition movement, with its high degree displayed to a large audience. They were the way in passed through the turnstiles. At this time the population of authenticity and continuity of function over time, which established and new nations, including the of the Australian colonies was about 3 million (Findling is therefore an outstanding representation of the more distant colonies, such as Victoria, could position and Pelle 1990: 376-377; Vamplew et al 1987:41). international exhibition movement, and thus of that themselves in a rapidly developing global economy. Even though the above visitor figures are likely to include significant stage of human history that transpired from The Royal Exhibition Building is the only surviving building repeat visitors, it was still an amazing result (Pearson and the late nineteenth into the early twentieth century. from the major exhibitions of the period to have exhibited Marshall 2002:15). The Melbourne International Exhibitions of the key components of the exhibition movement— Individual exhibitors came in large numbers and from 1880 and 1888 in a Context of Colonial Nations manufactured goods and new technologies. many countries. There were 14 420 at Philadelphia Like the earlier exhibition in Sydney and those of other International exhibitions were a new and peaceful means (1876), 12 792 at Melbourne in 1880 (Official Record of emerging nations and regions, the Melbourne for expressing national achievement, pride and ambition the Melbourne International Exhibition 1880-1881), 10 International Exhibition of 1880 was a celebratory and in an international setting. They were unusual for the time 240 at Melbourne 1888 (Official Record of the Centennial a symbolic event. It asserted to the world the wealth, in having a strong international dimension both in terms International Exhibition, Melbourne 1888-89), 61 722 at capacity and culture of the city and the British colony. of the goods displayed and for the location of exhibitions Paris (1889), 50 000 at Chicago (1893) and 76,112 at Comments of the day reflect this: in many different parts of the world, particularly those Paris again in 1900 (Mattie 1998:33, 75, 87, 101; viewed as geographically remote. At both international Sharples in Dunstan 1996: 139). They came from the Every visitor must remember the charming collections that filled the Italian sculpture courts in the Vienna and Paris exhibitions in Melbourne, the Royal Exhibition Building colonial nations and the colonised, from both Europe and exhibitions and the Italian marbles sent to Melbourne hosted displays of goods with a strong international focus. the United States and from places geographically remote appear to have been of equal merit and interest Of the surviving examples of international exhibition from these. and buildings, it is also in the most geographically remote Overall, an estimated 220 million people had attended location (from Europe and America). these events by the end of 1900 and an additional 120 The description of objects of Victorian produce and industry occupies thirty-seven closely printed pages of the catalogue The scale and influence of international exhibitions can million by the end of 1915 (calculated from Findling and (nearly 2000 entries) and is a remarkable record of the high be seen in the number of attendees and exhibitors. Pelle 1990, Appendix B). stage of general progress of the colony (Art Journal 1881: 324-28). The exhibitions were the largest gatherings of people— That the international exhibitions of the nineteenth and war or peace—of all time (Greenhalgh 1988:1). On both a early twentieth century reflected a significant stage in high and a popular level they ranked amongst the most human history can be judged from the massive and

24 It was evidence of the development of the city from a coherent, efficient economy and of a wealthy society Atlanta hosted large expositions in 1881 and 1887 to small, frontier colonial settlement to the metropolis it installed (Butlin 1964: 3-6). exhibit “products and resources of the Cotton States became less than fifty years later, strongly linked with a and other States of the United States and of all other The period saw the orientation of economic activity world economy and community of ideas (Davison 1978: countries” (Findling and Pelle 1990: 139). Organisers towards commercial-industrial specialisation and the 1-7; Dunstan 1996: 3). hoped to develop trade with Latin American countries tertiary services of urban society (Butlin 1964: 3-6). while promoting the South to outside investors (Findling At the time of the Melbourne International Exhibition of Between 1861 and 1890, Australian gross domestic and Pelle 1990: 139). 1880, it was the newest outpost of Western civilisation product increased by a factor of three, and its total (Parris and Shaw 1980: 251) and its international exports by a factor of two (Butlin 1964: 28). By the early The primary purpose of the Kingston International exhibition site was geographically the furthest from 1880s, Melbourne was leaving its early industrial stages Exhibition of 1891 was to develop trade between Jamaica Europe and America. Staging the exhibition was a behind and was gradually acquiring the broader functions and the United States, Canada and Great Britain. It was statement that Melbourne was part of an international of a fully-fledged metropolis (Davison 1978: 6-7). intended to demonstrate Jamaica’s natural resources and economy and showed its aspirations to be a significant Federation of the six Australian colonies took place products, encourage trade and exhibit foreign machinery player on the world stage. The Paris correspondent of by 1901. useful in developing the islands’ natural resources. The Builder noted that there was “no small interest in It could also encourage tourism (Findling and Pelle 1990: The themes of internationalism expressed at the France”, who saw it as a chance to capture a new and 119). Melbourne international exhibitions were typical of those potentially important market, and British Commissioners held in the less industrialised parts of the New World and For Omaha, Nebraska, in 1898, an international exhibition noted that the British exhibits were more numerous than in colonies of empire. was a chance to proclaim the potential for greatness of at Philadelphia in 1876 (Parris and Shaw 1980: 237-54). the twenty-three trans-Mississippi States, and a vehicle to The Calcutta International Exhibition, opened with great In 1860 the Australian colonies made up a loosely demonstrate the refinement and learning of the populace pomp in 1883, was hailed by its promoters as a harbinger connected group of emerging economies. Thirty years (Findling and Pelle 1990: 152). Similarly New Orleans of India’s integration into a world economy. It was later, the foundations of an enduring western society had 1884-1885 was linked with the notion that quarrels be important in introducing many Indians to influences from been established and the social and productive assets of a put aside and that the region should devote itself to the outside India and Britain (Findling and Pelle 1990: 82-3). progress of commerce and industry (Findling and Pelle 1990: 86-87). The international exhibition that opened in 1898 in Dunedin, New Zealand, was intended to promote closer relations with the Australian Colonies and the Pacific Islands (Findling and Pelle 1990: 117-118). These exhibitions represented more than the assertions of places outside the centre of the world economy. In a two way process of communication and development, these exhibitions were patronised by exhibitors from around the world. At New Orleans for example, twenty-six countries from Asia, Europe, the Caribbean and Central and South America were represented (Findling and Pelle 1990: 89). The Melbourne International Exhibition of 1880 hosted representatives of thirty-seven nations, while the 1888 Exhibition is quoted as having ninety-three participating Permanent building States, with the United States, Great Britain, France, and temporary Germany and Austria-Hungary the major nations to be pavilions, 1888. (35) officially represented (Findling and Pelle 1990: 74,106).

25 The Royal Exhibition Building and Carlton Gardens are they represented, in cultural terms (ibid). The business Melbourne’s Royal Exhibition Building represents all the the most outstanding remains of the great international of the exhibition was not simply to sell things but to elements that characterise the international exhibitions. exhibitions in the various colonies, where the staging of symbolise, and disseminate, the ruling ideals of an It follows on from the established patterns in architecture, an exhibition was a powerful symbol of the desire of the industrial age (Davison 1983: 19). iconography and rhetoric, conventions that were initiated colonists to join the industrialised world, and of their with the first great exhibition at the Crystal Palace in aspirations towards nationhood. Building and Site Typology 1851. The Melbourne international exhibitions of 1880 International exhibitions can be thought of as the The architectural iconography of nineteenth century and 1888 were in many important respects typical. nineteenth century’s and early twentieth century’s official exhibitions are a combination of domes, to mark the The architecture of exhibitions was eclectic in style and visiting cards (Davison 1983: 5). They announced the facility far and wide in an urban context; an integrated tended toward grand ecclesiastic and classical inspirations. arrival of new nations, gave a brief exposé of their axial garden layout to provide a palatial context for the Pavilions set amongst large gardens characterised the trade and prospects, and opened the door to closer exhibition hall; repeated giant entry portals to symbolise exhibitions. They were typically intended to promote international relations with others. They were less a welcome to the world community; and a viewing trade and to assert to the world the economic and social concerned with what they actually sold than with what platform to allow visitors to survey the progress of consequence and aspirations of the host.

A landmark in Melbourne, 1880s. (36)

26 The Melbourne international exhibition site comprised a Great Hall (the building that has survived), conjoined annexes and enclosed covered areas. As a compact type of exhibition site, it did not have separate halls for major categories of display, as did most of the large-scale exhibitions. Instead, different classes of products (in this case displays from different nations including manufactured goods and products showing advances in technology, fine arts and horticulture) were displayed in the Great Hall and a series of annexes. Nevertheless, at the time of its construction, the Royal Exhibition Building was the largest building in Australia (Whitehead 1997: 28). Though not an engineering innovation, it strove like the Crystal Palace to be symbolic of a world exhibition, rather than a national symbol of the Australian colonies. As the only Great Hall from a Palace of Industry to survive from any of the significant international exhibitions, modelled as it is on the Crystal Palace form and expressing the developed iconography of subsequent exhibitions, the Royal Exhibition Building and Carlton Gardens site is the most authentic surviving architectural expression of the international exhibition type from any of the major exhibitions. This significance is further enhanced through its continued use as an exhibition hall to the present day. This contrasts with the Eiffel Tower, which is clearly the best surviving example of the architectural implications of developments in engineering technology in iron, and exemplifies the international exhibition movement as an The Promenade Deck surrounding the dome was one of the main attractions at the Exhibitions. (37) expression of nationalism. their city. Most of the nineteenth century international portals and a promenade deck. The building’s ecclesiastic The Royal Exhibition Building and Carlton Gardens site exhibition buildings and sites incorporated these elements. features, such as its cruciform plan, nave, transepts, choir is an outstanding building and architectural/landscape and organ dome, and clerestory lighting, combined with ensemble, an authentic and tangible symbol of the These key design features, which had been formalised its secular function, marked it as a cathedral of industry. international exhibition movement’s role in showcasing at the London Exhibition of 1862 and frequently used In addition, through the building’s positioning on a ridge and promoting the achievements of the industrial thereafter in other international exhibitions, included the in the landscape, the dome achieves a landmark impact revolution-the development of international trade and use of domes (1862, 1873, 1878); flanking pavilions for the city, as the Eiffel Tower does for Paris, albeit on industrial economies, industrial manufacturing systems (1862, 1873, 1878); giant axially placed, portal entries a very different scale. The adaptation of the Carlton and technological achievements. (1851, 1862, 1873, 1878); and the incorporation of a Gardens to be prominent in the function and visual image viewing platform (1862, 1873, 1878). of the exhibition site as a whole, reflects the integrated The Royal Exhibition Building and Carlton Gardens is very landscape of The Prater in Vienna’s 1873 Exhibition and representative of this typology, incorporating all these at Philadelphia’s 1876 Exhibition. elements-the dome, axial garden context, giant entry

27 Criterion (vi) Criterion (vi): be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance The Royal Exhibition Building and Carlton Gardens is directly and tangibly associated with the international exhibition movement and its expression of nineteenth century ideas and beliefs about progress and industrialisation. These ideas and beliefs are of great historical-and contemporary-significance. They were integral to the development of an international economy and shared belief systems. The ideas encapsulated and promoted by the movement have had global impacts across societies and cultures, and therefore have outstanding universal significance. The historical significance of the international exhibition movement has been established under Criteria (ii) and (iv). The movement was strongly associated with ideas and beliefs including that: • human progress was bound to the process of industrialisation and the opportunities that it generated; • technological developments and innovations would promote human well-being; and • international trade in goods and ideas would increase wealth and lead to shared values and aspirations among peoples. To understand the dynamics of what is called the international exhibition movement, it is necessary to understand that the ‘contacts’ and ‘circuits’ formed by people associated with and visiting the exhibitions, were genuinely international, and they often survived long after The Grand the exhibition was over, continuing to carry forward not Avenue of Nations, only the experience of each exhibition, but the ideas and 1880. (38) values that it had expressed (Briggs 2002 manuscript). The ideas and beliefs associated with the international exhibition movement were not only to do with trade. The connections, implicit and explicit, that were made between the economic and social order were part of the significance of the movement. The overall themes of

28 international exhibitions were trade and progress, peace The international exhibitions were the quintessential among nations and education (especially of the ‘masses’) expressions of the dominant culture of the age, re- (Greenhalgh 1988: 17). The exhibitions presented an interpreted by and from the perspective of each host ordered world and used goods and displays to sell ideas. nation. The exhibition building encompassed the educational and didactic purpose of the exhibition ideal. The goods that were on display were not only material Its construction was in part a celebration of nationhood. but also communicators-carrying social meanings within a It also fulfilled the dual roles of market-place and scientific cultural information system (Benedict 1983: 11). Not only institute, through the integration of the presentation of could the value of technological progress be transmitted manufactured products with artistic and scientific to large numbers of people, but also messages of cultural endeavours. advancement. The ideas on offer from the international exhibitions were those about the relations between The importance of these events can be judged by the nations, the spread of education, the advancement of enormous efforts of those who travelled great distances science, the form of cities, the nature of domestic life around the world, often with great difficulty, to set up and the place of art in society (Benedict 1983: 2). their exhibits in foreign countries. The numbers of these exhibitors, and the vast numbers of visitors to these They could be seen in a material form in the new events, are indicators of the success and impact of the technologies used to construct exhibition buildings and international exhibition movement. the displays of goods-industrial, artistic and cultural (Benedict 1983: 2). In the title of the London 1851 Many ideas and beliefs associated with the international Exhibition there was a specific reference to ‘industry’: exhibition movement, such as the promotion of imperial the Exhibition was to display ‘the industry of all nations’. achievement and the expression of racial superiority, were The word ‘industry’ was a human quality, not only a of their time. In many respects the values expressed in sector of the economy, as it was later categorised. international exhibitions do not accord with those of The term ‘industrial revolution’ was not then in general today. The significant ideas about progress and use, but contemporaries were well aware that with the international development encapsulated by the advent of steam power, which was being applied by then international exhibitions have, however, had a profound to locomotion as well as to production, the world had influence on the nature of contemporary societies. changed irrevocably. Machines were there to stay, The Royal Exhibition Building and Carlton Gardens are but as old machines became obsolescent, new ones, directly associated with two international exhibitions, key incorporating invention, would take their place (Briggs events of their time. The site is a rare, authentic survival, 2002 manuscript). representing the ideas promulgated by the international Before the period of mass communication, international exhibition movement. exhibitions were important venues for the dissemination of ideas. The popularity of the exhibitions meant that messages of prosperity and cultural ‘progress’ could be put to very large numbers of people. This took place through exposure to the most up-to-date examples of industrial technology, material goods and artistic products, and also to cultures different to their own (Pearson and Marshall 2002:15). The international exhibitions also marked the birth of consumer society (Benedict 1983: 2).

29 CHAPTER 3 DESCRIPTION

31 CHAPTER 3 DESCRIPTION

3A DESCRIPTION OF THE The Exhibition Building is constructed from traditional PROPERTY nineteenth century materials. The walls of the building are constructed of cement rendered brickwork, originally The Site an unpainted finish, but subsequently painted. The roof The 1880 and 1888 Melbourne international exhibition is timber framed and covered with a combination of site is a rectangular block of 26 hectares (64 acres) corrugated galvanised steel and slate. All windows and bounded by four city streets. The site comprises three doors are timber framed and painted (Meredith Gould zones of roughly equal size. The permanent exhibition Architects 1997: 32-33). building of the 1880 Exhibition is positioned on the high open ground of the central zone. The formally laid out The building and grounds were designed by Joseph Reed ‘palace’ garden forms the forecourt to the building and is of the architectural partnership Reed and Barnes. Reed contained in the southern zone. The northern zone is won the design competition for the Exhibition Building part of the Carlton Gardens, which, for the most part, with an entry representing the site in a Beaux-Arts axial was formally laid out with paths and avenues after the scheme with the building as a palace, primarily in the closing of the 1888 Exhibition (Meredith Gould Architects Italian Renaissance style (Meredith Gould Architects 1997: 1997: 32-33). The edge of the site is marked by the 32-33). Reed’s design combined Gothic and classical bluestone perimeter plinth of the cast iron palisade elements in a manner consistent with creating a building fence that defined the 1880s exhibition grounds. that was at once useful and ceremonial, secular and sacred (Dunstan 1996:14). Reed and Barnes adopted The Exhibition Building in its current form (the ‘Great Hall’) the little-known German Rundbogenstil mode, and other is only a portion of the substantial complex of structures more familiar stylistic motifs from earlier international erected for the 1880 Melbourne International Exhibition exhibition buildings in Britain and Europe, to great eclectic (Allom Lovell and Associates 1999: 39). Unlike many effect. Rundbogenstil was essentially a ‘round arched’ international exhibitions, part of the Exhibition Building style, made popular in northern Germany in the early was conceived as a permanent structure that, although nineteenth century by architects exploiting the tensions purpose-built for a one-off event, would have a future between Greek Classicism and Gothic. It combined role in the cultural activities of the burgeoning city elements from Byzantine, Romanesque, Lombardic and (Meredith Gould Architects 1997: 49-50). The original early Italian Renaissance buildings (Willingham, in Dunstan structure comprised a ‘temporary’ component, 1996: 52-53). demolished after the 1880 Exhibition, and a ‘permanent’ component. The permanent component consisted of In adopting ecclesiastical principles of design, the Section through the Dome. (39) the Great Hall, cruciform in plan, flanked by two smaller Exhibition Building was like many British and Australian wings, known as the western and eastern annexes, exhibition buildings. It was designed to clearly express the which were demolished in 1961 and 1979 respectively ideals developed at the Crystal Palace and its cruciform (Whitehead 1997:137; Allom Lovell and Associates plan, nave, transepts and fanlight windows reflected the 1999:39). design of that building (Meredith Gould Architects 1997: 49-50; Dunstan 1996:14). The 1880 Exhibition Building combined the ecclesiastic and secular traditions of the

32 cathedral or temple with the banqueting hall, the ground level, each has a large arched opening, flanked Renaissance palace, gallery and library. In its cruciform by piers, with a bipartite window and a glazed fanlight plan, with nave, aisles, transepts, dome, and clerestory above. The second level has a pair of Corinthian pilasters lighting, it was more a temple to industry than a palace flanking a smaller arched window, which is surrounded (Meredith Gould Architects 1997: 49-50). by an ornate aedicule composed of a moulded and bracketed sill, a second pair of Corinthian pilasters, and a Reed and Barnes’ building was planned with long central cornice surmounted by a scrolled disc. The third level of naves and stunted transepts, wide side aisles at ground each bay projects above the parapet line to form a small floor level and continuous galleries at first floor level, and belvedere, containing a pair of narrow windows with triumphal entrance porticoes at the four extremities of the round arched heads and a continuous archivolt (Allom cross and corner pavilions. A soaring octagonal dome Lovell and Associates 1999: 39-42). was placed centrally over the arched brick crossing of the Exhibition Building. Access to the roof below the dome The projecting pavilions that terminate the south elevation was provided via a staircase in the south portal, allowing have rounded corners. At the ground level, the pavilions for spectacular views of the city. The principal entrance to have the same tripartite window and blind fanlight detail the building faced south towards the city, with a massive that is repeated throughout the building. At the attic portico functioning both as a triumphal arch and temple storey, the pavilions have three round-arched windows front (Dunstan 1996: 53). with a continuous archivolt. At each side of the attic storey is a pair of narrow piers with reversed volutes at The main building, as it currently exists, is cruciform in their bases. This supports a heavy dentillated cornice, plan, comprising a pair of elongated rectangular wings, above which is a low parapet wall with a row of urns. extending east and west, with a transept to the north The pavilions have broad mansard roofs, clad in and a truncated transept to the south (Allom Lovell and corrugated galvanised iron and surmounted by a Associates 1999: 39). flagpole (Allom Lovell and Associates 1999: 39-42). The Southern Elevation The Northern Elevation The southern elevation consists of a large and prominent The north elevation is largely identical to the south. central porch, flanked by elongated nave wings that each The main differences are the presence of the projecting extend to form tower-like square pavilions. The central northern transept and a porch on either side forming a porch consists of a large round-arched opening that doorway. The transept porch is similar, although smaller extends back into the building to reveal a large portal. and less ornate, than the corresponding porch on the The portal consists of a semicircular fanlight, with southern elevation. On the north porch, the parapet South Elevation with partial plans. (40) peacock-like pattern of radiating ellipses and circles, detail belvederes are smaller, with only one window rather that derives originally from the Crystal Palace of London in than a pair, the stairwell bays have plain piers instead 1851. Below the fanlight, the wall is divided by piers to of Corinthian pilasters, and the windows lack the highly form three wide rectangular doorways, each of which ornamented aedicule (Allom Lovell and Associates contains a pair of six-panel timber doors. The bays on 1999: 42). either side of the portal arch rise over three levels. At the

33 The East and West Sides The east and west sides of the Exhibition Building are similar to the north and south sides in that they are symmetrical and have the same overall composition, although horizontally smaller in scale, of a central porch, flanked by bays and terminated by square corner pavilions. There are three bays between the corner pavilions and the central porches, detailed in a similar manner as the ground floor bays elsewhere on the building. The east and west porches have round-arched portals that, unlike their north and south counterparts, are smaller in scale and devoid of decoration (Allom Lovell and Associates 1999: 43).

The Dome The octagonal drum of the dome rises 68 metres (223 feet) above the floor of the nave and is 18.3 metres (60 feet) in diameter. The dome rises up from an octagonal drum that is placed on a square base at the crossing point of the naves and transepts. The base has eight faces, each containing two bays, that each contain a pair of narrow round-arched windows. The dome is timber- framed and double-shelled, with an octagonal timber cupola at the apex. It was formed using cast iron and South Elevation. (41) rendered masonry, with the cupola finished in gold leaf detailing. In section, the composition of these spaces is (Allom Lovell and Associates 1999: 45). similar to a traditional Roman basilica or Gothic cathedral form: a tall central space with an exposed raked ceiling At the crossing are four round arches and arched that is flanked by a pair of lower aisles. These aisles pendentives from which the octagonal dome rises. comprise a wide passage at ground level, with a Lunettes mark each of the four spokes of the structure. mezzanine gallery above. The height difference between Their round arches, dropped below the dome arches, the ceiling of the central space and the ceiling of the combine with the massive portal fanlights and the aisles is infilled with a continuous clerestory (Allom Lovell decorated timber roof trusses, to produce the effect of and Associates 1999: 47). a four barrel vaulted ceilings, on what is in fact a simple gable roof (Meredith Gould Architects 1997: 40). The flanking aisles are three bays wide in the eastern and western naves. In the smaller northern and southern The Interior-The Naves and Transepts transepts the galleries are only one bay wide. The bays are The existing Exhibition Building includes a pair of marked by rows of square timber posts with moulded elongated projecting wings extending to the east and capitals and plinths, and stop-chamfered shafts. At the west (the eastern and western naves), and a pair of Floor plan. (42) upper (gallery) level, there is a secondary clerestory in the shorter projecting wings (the northern and southern external wall, comprised of a continuous row of narrow transepts). Although these wings vary in length and windows along the ceiling line. On the opposite side of width, they are largely identical in form, structure and the gallery, overlooking the nave proper, an open timber- framed balustrade runs between the timber posts.

34 The Carlton Gardens The Carlton Gardens, the setting for the Royal Exhibition Building, are significant for their nineteenth century ‘Gardenesque’ style featuring specimen trees, parterre garden beds, in a symmetrical design with the use of axial views and foci. ‘Gardenesque’ is a term applied to a garden design style that became popular in England in the 1840s. It developed from the intense interest in botany, horticulture, floristry and floriculture, with garden designs reflecting scientific interest rather than mythical concepts (Heritage Victoria, Carlton Gardens File). The landscape features outstanding tree avenues, rows and specimen trees on the lawns, two lakes with islands, shrubberies and elaborate annual bedding displays along the southern promenade. It consists of two main sections to the north and south of the Royal Exhibition Building. Each of the north and south gardens has a formal layout of paths, including a wide avenue walk, lined with plane trees on the main north-south axis, forming the main entrance to the building from Victoria Street (Heritage Victoria, Carlton Gardens File). The gardens also consist of a number of fountains and Section of the nave. (43) other architectural and landscape features, including the Directly above the gallery is the main clerestory, which Beyond these rafters is the exposed roof sarking, in the Hochgurtel Fountain (1880), the remnant cast iron corresponds to the bays formed by the rows of timber form of narrow timber lining boards (Allom Lovell and perimeter fence and remaining bluestone plinth (1880), posts. Each clerestory bay contains two pairs of Associates 1999: 47). the French Fountain (1880), the Woods Freestone Exhibit rectangular timber-framed windows. Beyond the (1881), the rediscovered Westgarth Memorial Drinking At the extreme end wall of each nave and transept, clerestory windows and the ceiling line of the gallery Fountain (1888), the Curator’s Lodge (c.1890), two lakes there is a large and slightly recessed archway that contains below is a rectangular spandrel lined with horizontal with islands and numerous shrub beds, all linked by a the distinctive semicircular fanlight, with its peacock-like beaded timber boards (Allom Lovell and Associates series of geometric and linear paths (Heritage Victoria, pattern of radiating ellipses, circles and tear-shaped 1999: 47). Carlton Gardens File; Carlton Gardens Conservation elements. The fanlight in the northern transept is Management Plan: 2002: 3). The roof framing of the central nave, which springs from proportionally smaller than those in the corresponding the clerestory, also corresponds to the repetitive bays three wings. Underneath each of these fanlights is an The nineteenth century path layout is enhanced by marked by the timber posts. Each bay has a pair of deep area of blank wall, along which runs an uncovered magnificent avenues of trees, including the grand avenue rafters with a collar-beam that straddles the apex, and a walkway that connects the covered mezzanine galleries on of twenty-six plane trees that frames the Exhibition pair of collar-braces at the lower ends that, in turn, are each side. In the southern transept, western and eastern Building dome, elms, cedar, white poplar, English oak and connected by a horizontal metal tie rod. This creates a naves, the principal entrances to the building are located an uncommon avenue of thirty five Turkey oaks. Carlton roof truss of a distinctive canted profile that is further immediately below these walkways. Each of these Gardens is a notable creative achievement, demonstrating embellished by ornamental timber fretwork in imitation of entrances consists of three wide rectangular doorways, skilful garden design and a landscape character that four-centred arches and pendants. Running perpendicular each of which, contain a pair of timber six-panel doors features plantings of pines, cedar, Araucaria, cypress, across the top of the trusses is a row of narrow timber (Allom Lovell and Associates 1999: 47). gums, figs, pepper trees, elms, planes, oaks, poplars, purlins that support a band of secondary rafters.

35 Canary Island date palms and Washington palms, that In its present configuration, the South Garden is boys representing commerce, industry, science and arts, display contrasting colours and forms that enhances the principally the work of Reed and Barnes. It also reflects native birds, platypi and ferns (John Patrick & Allom Lovell Gardens (Heritage Victoria, Carlton Gardens File). major input from the leading nineteenth century 2002: 4). horticulturalist and designer, William Sangster, especially The Carlton Gardens area as a whole is a significant In its current form, the North Garden remains as a largely in the placement and selection of trees, many of which demonstration of the Gardenesque style. Its nineteenth intact public park established in the late nineteenth have survived through to present day. The unity of the century garden style includes the virtually intact path century after removal of the northernmost exhibition symmetrical design with its use of axial views and central system, the high numbers of trees extant on the site from annexes. The design for the area is attributed to Clement focus, particularly the grand avenue, southern and eastern the 1880s and 1890 layout, reconstructed parterre garden Hodgkinson. Nicholas Bickford and John Guilfoyle were forecourts and French and Hochgurtel Fountains, are beds, significant avenues including the southern carriage subsequently charged with re-establishing Hodgkinson’s integral elements of the original 1880 scheme (John drive and ‘Grande Allée’ specimen and cluster trees, two layout. The site features a number of elements of Patrick & Allom Lovell 2002: 4). ponds and three fountains (the Hochgurtel Fountain, the individual significance, including oak, elm and other French Fountain and the Westgarth Fountain). The The Hochgurtel Fountain, at the time the largest and most mature treed avenues that cross the site, the Curator’s remnants of the bedding displays near the Exhibition elaborate fountain in Australia, was installed for the 1880 Lodge, remnant cast iron perimeter fencing from the Building are also notable features, illustrating typical Melbourne International Exhibition. Centrally located at 1880 Exhibition and internal rod fencing to the beds Gardenesque landscape elements (John Patrick & Allom the focus of the southern pathway system, its modelling (John Patrick & Allom Lovell 2002: 4). Lovell 2002: 3). and iconography incorporate mythological tritons, young 3B HISTORY AND DEVELOPMENT Royal Exhibition Building and Carlton Gardens, 1880. (44) The history of the international exhibition phenomenon has been widely written about (see Geppert, Coffey and Lau 2002, comprehensive bibliography). To place the Royal Exhibition Building and Carlton Gardens within their historic context, we first provide a brief overview of the history of international exhibitions (1851-1915). This is based largely on Briggs (2002 manuscript). A copy of the complete text can be found in Appendix 2.

The History of International Exhibitions (Briggs, 2002 manuscript) The sequence The concept of the international exhibition had a long gestation, evolving slowly as a cultural phenomenon for almost a century before the first event took place, in 1851. The Society of Arts held the first formal display of manufactured goods in 1756-7 in London. In subsequent decades similar displays followed in other parts of Britain, France and elsewhere in Western Europe. French national exhibitions were widely used as a means to display to a mass audience, the achievements of modern industrial development. The first exhibition of manufactured goods took place in 1798, with subsequent fairs held intermittently throughout the nineteenth

36 century. The eleventh national French fair attracted over Between the Great Exhibition of 1851 and the Paris 4,500 exhibitors in 1849. Similar national exhibitions did Exposition of 1900 there were at least 53 international not develop in England, although there were, from about exhibitions. The word ‘Palace’ persisted throughout the 1820, exhibitions sponsored by mechanics institutes and Exhibition era. New York had its own Crystal Palace in artisans schools. 1853 and most exhibitions had a ‘Palace of Industry’ and a ‘Palace of the Arts’ after the Paris 1855 Exposition. The development of exhibitions as a concept during this By the 1870s international exhibitions had acquired a time paralleled a nineteenth century preoccupation with cluster of features. Buildings were set in planned spaces, display, and was demonstrated through the development often including gardens. There were exhibition complexes of institutions such as museums, art gallery, dioramas and with their own iconography, a part of history-domes, cycloramas. The international exhibition movement was viewing platforms, national pavilions. an extension of the principles of classification and comparison developed by eighteenth century scientists. The dynamics of the international exhibition movement Contemplation of objects was intended to inspire feelings were such that the experiences, ideas and values of human progress and achievement. expressed at each event were transmitted and enlarged upon from one to the next. There were always observers, Once the idea became established, many exhibitions were often known as exhibition ‘commissioners’, who at each held between 1851 and 1915, each with its own identity, exhibition reported what was happening, sometimes Royal Exhibition Building in its garden setting today. (45) all with features in common. They were landmark events officially and always in letters. They identified particular in history both for countries at a national level and for the points considered to be relevant to the planning and international, but mass tourism was to be a late-twentieth general populace. Yet they were far more than events. organisation of international exhibitions in their own century phenomenon. With many links between them, they stand out in countries. Communication between commissions in retrospect as part of a significant economic, social and When people travelled to exhibitions, they were not mere different countries was a basic ingredient in the exhibition cultural process. It is possible to identify an ‘exhibition observers. They were participants. The nature of the era. This was a highly influential network, carrying out era’, the time-unit usually applied to it. The adjective entertainment to be found inside and outside the diplomatic as well as planning duties. ‘international’, always given emphasis, helps to define exhibition space, not all of it ‘respectable’, sometimes it. The exhibitions set out to chart visually ‘material and Work as well as imagination was always required from shocked visitors, but entertainment contributed to the moral progress’, within a world context. colonial commissioners. Their place within the State exhibition atmosphere. This made the exhibition apparatus of their own countries varied, but their experience more intense. It also encouraged what later The Great Exhibition of 1851 at the Crystal Palace is countries came to depend on them as they established became called ‘consumerism’. There were food and drinks usually recognised as the first event in an international authority in their own sphere, which often included never tasted before, souvenirs to purchase. Spending was sequence. The objects collected inside the building were libraries, museums and art galleries as well as exhibitions. encouraged at a time when thrift was being extolled as carefully classified, representing the material culture of The number of colonial exhibitions increased during a complement to work. However, it was thought proper the age. Many contemporaries, in retrospect, viewed the the 1880s and 1890s. Unique and invaluable objects, that visitors had to be informed and educated as well as Great Exhibition as a turning point in human history, treasures and displays were often acquired from entertained. ‘casting all its predecessors into the shade’. The purpose exhibitions to form the basis of that country’s permanent of the 1851 Exhibition was to display ‘the industry of A distrust of exhibitions began to form at the end of State collections. all nations’. This was industry in its broadest sense — a the nineteenth century in most countries other than the human quality rather than an economic sector. Organisers The success of every exhibition depended on its power United States. There was no longer a confident belief for this and all subsequent exhibitions saw it as their to attract visitors. Vienna’s 1873 Exhibition failed to do in ‘progress’. There was an increasing awareness of the mission to register visually the unprecedented changes so. Paris 1878 almost bankrupted the city. The Paris element of drudgery in most people’s work, and of the taking place in society, with emphasis on work, on Exposition of 1900 was attended by over 50 million existence of poverty in the midst of plenty. Between ingenuity, innovation, and science as ‘art’. people, a smaller figure than had been hoped for (60 1901 and 1915, of around seventeen exhibitions calling million), but nevertheless the largest attendance of any themselves international, seven were held in the United nineteenth-century exhibition. Public travel was becoming States.

37 The View from Melbourne: an International permanent exhibition space was submitted to the by voices foretelling speedy discovery and development’. Perspective Victorian Parliament, to be opened in 1879. Part II described how Victoria, now Queen of the South, is discovered ‘engaged in various pursuits’-pastoral, Leaders of opinion in the Australian colonies had been At the same time as a new site for future exhibitions was agricultural and industrial-and is approached by a interested in exhibitions from the time of the opening of being sought, there was a strong desire to hold a truly company of nymphs, ‘representing the various nations the Crystal Palace onwards. From the distant periphery of international exhibition in Melbourne, rather than of the earth’. empire, Australian exhibits made their way to London in exhibitions restricted to the Australasian colonies. 1851 and in 1862, triumphing over distance as did the Colonists inspired by exhibitions in Europe and the United On the opening day of the 1880 Exhibition twenty telegraphic cable that reached Melbourne in July 1872. States lobbied the Victorian Government and eventually thousand people were in the streets watching a great Soon foreign exhibits made their way to exhibitions in gained support for the impressive Melbourne international procession led by two brass bands. The building itself, Sydney and Melbourne. exhibitions in 1880 and 1888. designed by Joseph Reed was of Beaux Arts inspiration, as Chicago, 1893, was to be, and there were ‘aesthetic’ As early as 1854, Melbourne had erected its own first These took place at a time when the city boomed. It was sunflowers and lilies embellishing its dome and balconies. exhibition building at the site of the later Royal Mint in also a time when the Australian colonies were placing The interior decoration was complete with text and William Street, the design of which was based on that of more emphasis, as indeed London then was, on empire symbols that caught the essence of the exhibition the Crystal Palace in London. The exhibition building had and on imperial trade, and less on the doctrine of free experience. They included ‘Victoria Welcomes all Nations’, 200 ornamental windows and was lit by 306 gaslights. trade that had been proclaimed with complete confidence and ‘All the Earth is Full of Thy Riches’. It has been fully An exhibition, modest in scale-there were 428 exhibits, in 1851. It had never been treated so confidently in described and its history can be found in Dunstan’s mainly local industrial and agricultural products-was held Australia. Yet the timing of the 1880 Melbourne Victorian Icon (1996). in that year, and was viewed by 40 000 people. Some of International Exhibition was related less to what was these exhibits went to Paris for the 1855 Exhibition. happening in London than to the timing of the Centennial The Melbourne Centennial International Exhibition Exhibitions in Melbourne became a regular occurrence, Exhibition in Philadelphia in 1876 and the Paris Exposition of 1888 had more British and imperial resonance. becoming grander and larger each time. These exhibitions of 1878. It was sensibly thought that exhibits sent there A centennial exhibition to celebrate a century of were intercolonial in nature, that is, exchanges between might then make their way to Melbourne. This was a Australian settlement history, it attracted over two million the Australasian colonies. The first exhibition building was genuinely international preoccupation. people, but it was necessary for the Victorian government to spend £250 000 on it, ten times the amount estimated, closed and demolished in 1861 as it was deemed too There had been a note of pride ten years earlier, as there a sum that seemed absurd after the economic boom small for future exhibitions. Sir Redmond Barry, founder was in most exhibition cities, in a message sent from the came to an end, as it did in 1889. There was a greater and trustee of the Public Library and Museum, and Victorian Commissioners to the Commissioners of the emphasis on culture than in 1880, particularly on music Chancellor of the University of Melbourne, offered the 1878 Paris Exposition. Melbourne, they stated, was now and painting. A choir of five thousand sang music old grounds of the Public Library and Museum to serve as a ‘the site of a populous and well-built city presenting all and new, and half a million people attended symphony temporary venue for the exhibitions. In 1866, 1872 and the evidences of wealth and civilisation, taking rank with concerts. There were over three thousand paintings on 1875 exhibitions were held in the grounds of the Public the foremost cities of the world’. ‘The rapid progress of display, including works by artists like J.M.W. Turner, C. Library (now the State Library of Victoria). Each of the Australasia’ was ‘one of the marvels of modern times’. Lutyens and Frederic Leighton. exhibitions preceded one overseas, to which the Victorian The increase of wealth and the advance of civilisation exhibits were sent (Paris Exposition Universelle 1867, were part of a single process. The fact that the Royal Exhibition Building and Carlton London International Exhibition 1872 and Philadelphia Gardens housed a second exhibition on a larger scale The same note was struck in 1880 by Sir William Clarke, Centennial International Exhibition 1876). in 1888 and that it survived both, though without the chairman of the Commissioners, who planned the the original 1880 interior décor, and that most other At the close of the 1875 exhibition, Barry announced 1880 Melbourne International Exhibition. The site on exhibition buildings elsewhere have not, gives it unique that as he was retiring it would be the last at which which a new building was erected ‘only a generation heritage value. The adjective ‘royal’ attached to it in he would officiate as either president or commissioner. ago was part of an unknown forest in an unknown land’. 1980 adds to, rather than diminishes, its nineteenth- He suggested that steps be taken immediately to a secure This theme was taken up in a prize cantata, Victoria, with century significance. a site where future exhibitions could be held (Dunstan music by Leon Caron. Part I described the past, ‘Victoria 1996:24). In 1877, a plan for constructing a large sleeping amidst the primeval solitudes and awakened

38 Exhibitions that took place late in the exhibition era There were major changes in attitudes towards empire were less attached to the vision of peace than their during the exhibition era, both at the centre and at the predecessors. A Krupps gun had been displayed in the periphery. Although the Victorian colonists were loyal to Crystal Palace in 1851 and an even bigger gun at the the British Empire, they also began to think of themselves Paris Exposition of 1867. Now there were ‘Armaments as ‘independent Australian Britons’, and to forge for pavilions’, labelled as such and said to be very popular themselves economic and other ties with countries outside with visitors. Few people, gazing into the future, had any Britain. The imperial element in international exhibitions intimation, however, of what the next war would be like, became a more potent ingredient during the 1880s and although it was plain long before 1914 that the exhibition 1890s. Colonies developed their independent outlook era that began in 1851, was over. The passion to and orientation, with the Victorian colony leading the systematically relate past to present and present to way and after 1888, forging its own trade routes with future as a universal theme was burning itself out. European countries besides Britain, and across the Pacific with Canada, where there was both a British and a French A sense of heritage inheritance. Nationalism emerged within an international Most of the objects seen in the international exhibitions context, demonstrated by the number of international were quickly dispersed, and many of the buildings were exhibitions in colonial countries. There was a persistent destined from the start to be pulled down quickly. looking to the future and in the future was hope. Much of the printed material surrounding the exhibitions The Royal Exhibition Building symbolises this for all was by its very nature ephemeral. Disaster by fire was such countries that held exhibitions. common: the Sydney International Exhibition Building of In Australia, as in other countries, the international 1879 burned down as early as 1882. exhibitions were always matters of pride and of The objects on display at all international exhibitions came importance in forging a sense of Australia within an from all parts of the world and from the start included imperial and international context. They assisted in raw materials as well as finished articles and traditional as introducing the world to the Australian colonies. One of well as manufactured products. The role of power-driven the most revealing accounts of the 1888 Exhibition was industry-and of transportation-was emphasised in ‘Palaces the official report on it by R Burdett Smith, New South of Industry’ where huge crowds could see not only static Wales Executive Commissioner. Covering all sections of objects but machines at work. The values behind the the Exhibition, it stressed ‘the moral effects of the event’. exhibitions were international too. Work was hailed, New South Wales had a ‘fine spirit of Australian patriotism mankind was treated as one and the future of mankind [that] permeated all who had a responsible personal was explored. interest’ in it, and stressed how it pointed towards ‘harmonious relations with all parts of the civilised world’. As there was an international exhibition sequence, it is It adds to the sense of heritage that after international possible to trace not only the changing use of raw exhibitions were no longer held at the Royal Exhibition materials (rubber, for example, or aluminium) and new Building, it was accorded additional significance when the modes of production, both transformed through science, first Australian Federal Parliament was opened there in but changing attitudes to historic heritage and to the 1901. environment, to human relationships and, indeed, in language and values. The gospel of peace, one of the As the Royal Exhibition Building survives in its original original themes of the international exhibition movement, Carlton Gardens setting, the building and gardens form Preparing for the 1888 rang hollow when there were popular pavilions devoted part of an international heritage in their own right, as Exhibition. (46) to war. authentic survivals of the international exhibition era. More importantly, however, they bear witness to the

39 power of the great international exhibition phenomenon Melbourne, 1887, with of the nineteenth century that led to countries Royal Exhibition Building and Carlton Gardens. (47) reconsidering their place in the world. The need to display a country’s technological and cultural wealth and Melbourne, 1866, to see that of others, still resonates today with the Expo with Carlton Gardens. (48) movement managed by the Bureau International des Expositions (http://www.bie-paris.org/). The values associated with international exhibitions are still powerful and relevant. One of the last surviving memorials of the early exhibition movement, the Royal Exhibition Building and Carlton Gardens, calls for full international recognition.

History of the Royal Exhibition Building, Melbourne Melbourne and its colonial context (Meredith Gould Architects 1997: 47–50) Melbourne’s international exhibitions were held during a period of marked economic growth based on mineral and agricultural exports (gold, wool and wheat), stockmarket profits and real estate speculation. This was also a period of notable public building with projects such as the new Law Courts, Public Library, National Gallery, Town Hall, Treasury Building, Parliament House, Royal Mint and the Exhibition Buildings themselves, being undertaken in the second half of the nineteenth century. Wealth from a booming economy was directed to grand and symbolic projects intended to reflect the status and position of Melbourne, Victoria and the Australian colonies on the world stage. The 1880 Melbourne International Exhibition was to be a further expression of this. From the beginning of its settlement in 1835, Melbourne The growth of Melbourne and the Central position of Carlton Gardens. had been a commercial centre, focused on the distribution telephones enabled the merchants of Melbourne to 25 years, Victoria went from a dispersed pastoral colony of agricultural products. The gold rushes commencing in expand their influence and power (Davison 1978: 11; to a substantial industrial one with a metropolis of over the 1850s rapidly led to Victoria becoming the commercial Dingle 1984: 152-155). Its population grew from 77 000 250 000 people that has been described as one of the centre, and later the leading manufacturing centre, of in 1851 to nearly 900 000 by 1881 (Bate 1999: 27; world’s great Victorian Cities (Briggs 1963: 277ff). The Australia. The Victorian goldfields were extremely rich Davison, et al 1987: 41). Its wealth and the size of the city entire range of manufacturers was soon represented in and enabled Melbourne to grow substantially, assisted led George Sala, influential London journalist, to dub it Melbourne and the provincial towns, producing consumer by a flood of British capital. Melbourne became the ‘Marvellous Melbourne’ (Sala 1885: 231ff). goods, export commodities and light and heavy engineering products. commercial centre of Australasia and the South Pacific, Following the growth of Melbourne as a commercial financing ventures in other Australasian colonies and centre, manufacturing industry became established and Melbourne’s first international exhibition was planned countries in the Pacific. The new technology of rail and flourished. (Dingle 1984: 156) Within the space of only before, but was opened after, Sydney’s international

40 exhibition of 1879–80. The rapid construction and Melbourne was successful in attracting every major Unlike many international exhibitions, part of the planning of Sydney’s Garden Palace ensured it was European country, the United States of America and Melbourne exhibition halls were conceived as a opened before the Melbourne building. The Sydney Japan. For these nations there was an opportunity to permanent structure that, although purpose-built for a buildings, although of a temporary nature and make firmer relationships with a prosperous new market one-off event, would have a future role in the cultural constructed in timber, were modelled on London’s Crystal and to display their cultural achievements in art and activities of the burgeoning metropolis. Palace. While the Sydney International Exhibition had a industry. The Exhibition Building was designed to clearly express the considerable international component, with fifteen Such long voyages were fraught with danger. The ideals developed at the Crystal Palace, such as the large countries and nine British colonies represented, its focus American ship Eric the Red was chartered to carry a cargo fanlight windows at each end of the nave and transepts. was primarily on agricultural and livestock production. of merchandise (tinned kerosene and turpentine, tobacco, The exhibition aimed, and to some extent achieved, Bristol’s Sarsparella, Wheeler and Wilson sewing machines, Melbourne and the spread of technology greater non-British commercial interest in the Australian axe-handles, furniture, cases of silver plate, toys, pianos Technological innovations were a major feature at colonies, with new shipping runs being established in the and organs, carriages and wagons) for the 1880 international exhibitions, and the exhibitions facilitated the years following. However two years after the exhibition’s exhibition. However it was wrecked on Cape Otway Reef transfer of this technology around the world. Hoffenberg closure, the buildings burnt to the ground. on 4 September 1880 due to navigational error, with the (2001: 166–167) notes that The 1870s were a period of recession throughout Europe. loss of four lives. As a result of the non-arrival of most of Visitors from around the world observed and operated Victoria, as a major trading partner with Britain, was also their prize exhibits, the American exhibition space was “machines-in-motion”, including ones for milling, cutting, affected by this downturn. Victorian Chief Secretary described rather kindly by one reporter as having “ample and carding woollen and worsted products, printing the Graham Berry took up the idea of an international promenading space” (Portland Guardian 7 September Times, crafting pottery, brewing beer, and extracting gold. exhibition, partly as a response to a well-defined need 1880: 2; Dunstan 1996: 123; Cahir, in press). In England and the Australian colonies, exhibits of for a permanent exhibition facility, and partly to provide Another ship bringing exhibits from England, the Loch machines were very popular and their exhibition often led stimulation to the economy. In 1877 Berry appointed Ard, also sunk on the way to Melbourne, off the western to purchases and applications (Hoffenberg 2001: 169). prominent commissioners to oversee the Victorian exhibit coast of Victoria on 1 June 1878. The loss of forty-seven at the forthcoming Paris exhibition and to consider the Australian colonists visited international exhibitions lives made it one of Victoria’s worst shipwrecks. Much of possibilities for a pre-departure local display. Shipping abroad, eying the various displays of “machines-in- the cargo consisted of ceramics that Minton intended to dates made the latter impossible, so as an alternative, the motion”, with a view to using them back in Australia. be part of their exhibit in the British pavilion. In particular, commissioners suggested Melbourne take the much larger At the time of the Paris Exposition of 1878, an executive a rare 153 cm high majolica peacock that was intended step of hosting an international exhibition itself late in commissioner from New South Wales is reported as to be the main exhibit, was lost. The peacock and other 1879. informing officials in Sydney that the colony’s exhibition Minton exhibits such as encaustic tiles have since been would give the colonists a chance to study and learn from By mid 1877 the site had been selected. Although Berry recovered by archaeologists and are on display at the the machinery, instruments and apparatus that would be was delayed by Parliament, having his bill rejected in Warrnambool Maritime Museum (Sotheby’s 1988; brought to Sydney from all over the world (Hoffenberg late 1877, he continued with preparations for the event. Heritage Victoria Loch Ard Shipwreck file). 2001: 166). He sent one commissioner to Paris to gain commitments The exhibitions were fundamentally an urban for attendance at the Melbourne exhibition and to review Electricity was at that time one of the marvellous, new phenomenon, and the colonies of Australia were amongst the facility. By May 1878 a successful design had been technological inventions, and provides a good example the most urbanised regions in the world in the nineteenth selected and the land secured. To ensure a truly of the role of international exhibitions in facilitating its century. When Melbourne chose to stage its own international exhibition, Berry set up a London committee popularisation. Alexander Dobbie, an engineer and international exhibitions it was declaring its equality of the Commission. Its task was to ensure a large machinist from South Australia, remarked of the 1878 with the notable cities of the world. commitment from the major European industrial nations. Paris Exposition that Thomas Edison’s exhibits were The 1880 Melbourne International Exhibition buildings ‘intensely interesting’ and ‘always honoured with admiring Melbourne’s preparations for the exhibition were were erected to present a display of Australian and crowds’ (Hoffenberg 2001: 166). The idea of using extensive. As exhibiting nations had to travel half-way international achievements that would mark Victoria’s electricity as a drawcard was picked up by the organisers around the world to attend, the Commissioners were entry onto the world stage and its commercial markets. of Melbourne’s international exhibitions. charged with communicating the benefits to participants.

41 Electric lamps at Melbourne Electrical Exhibition 1882. (49) Electric lighting at Melbourne Exhibition 1888. (50)

The1878 Paris Exhibition commemorated its opening New buildings would cost 87 759 pounds, and electric Exhibition, with night lighting made possible by electricity. with a display of 300 street lights-carbon lamps using lighting 57 894 pounds, a massive 40% of building Its success had prompted Melbourne’s determination to electricity. In 1880 at Melbourne, carbon arc lamps expenditure. The electrical installation and generating electrically light its centenary exhibition of 1888, claimed were used internally to facilitate construction but as with plants were the most popular features of the exhibition. to be the largest installation of arc lighting in the world previous international exhibitions, the hours of attendance Power was generated on site by three, 500-horse power, (Argus 12 July, 2 August 1888). For the first time, an were ruled by natural light. Gas provided lighting for twin cylinder steam engines, driving the generators that international exhibition could be lit at night. In addition, functions but not exhibits. supplied 1000 arc lamps and 3 040 incandescent globes, the Exhibition Building’s exterior was outlined in lights, taking advantage of the advances in lighting made by and this was an additional popular attraction (Dunstan In 1884, the Trustees in Melbourne called tenders for the Edison with the incandescent globe in 1881(McCann 1996: 201ff). electrification of the building. It was not until 1888 that 1994: 74). this eventuated, for the exhibition that would celebrate The mastery of this system of power marked the the centenary of European colonisation of Australia. Melbourne had been very early in the utilisation of beginning of the technological age. Electricity The permanent buildings of the 1880 exhibition were electricity for power. In August 1879, a football match at transformed the way in which international exhibitions to be used again and new temporary annexes added, the Melbourne Cricket Ground was watched “beneath a would be presented, and their built form. Towers would much in the same manner as in 1880. However the wondrous illumination of electric lamps”. Small steam become dominant, to be highlighted by night lighting as Commissioners made an early decision to provide for driven, direct current electricity generation plants had landmarks, and the building image would take over from night attendance by use of electricity. An indication of been built in the industrial areas of the city in the early the contents to be displayed. This could be seen in the the importance of this decision can be gleaned from the 1880s. By 1888, Adelaide, the capital city of South 1889 Paris Exposition (Findling and Pelle 1990: 114). March 1888 pre-opening estimates for expenditure. Australia, had hosted the small Adelaide Juvenile Industrial

42 The Royal Exhibition Building: 1888 to the Opening of Federal Parliament, 1 May 1901 for fifty years, to be replaced by a car park. In 1912, the present day (Meredith Gould Architects 1997: On 9 May 1901 the Duke of York presided over the first of Victoria’s motor shows, showcasing the newest in 74–76) opening of the first Federal Parliament of the six automobiles, were held in the exhibition buildings and By the end of the nineteenth century, the Royal Exhibition colonies of Australia, which had federated to form the continued to be held annually until a new, larger Building had hosted two international and numerous Commonwealth of Australia. Two massive paintings, Melbourne Exhibition Centre was opened in 1995 locally based exhibitions. The Trustees had perceived the one by Tom Roberts (now in the collection of Her Majesty on the Yarra River. need to give the site a range of viable uses and an Queen Elizabeth II, on loan to the Australian people), In 1919 the Royal Exhibition Building was used as fever Aquarium and an Ethnological Collection were installed and one by Charles Nuttall (which now hangs on the hospital to cope with 1800 patients infected with the within a small part of the permanent buildings in 1885. mezzanine of the Royal Exhibition Building), memorialised deadly influenza virus (Spanish flu). Following the Concerts, gatherings, exhibitions, fetes and further this event). The new Federal Parliament sat in the First World War, part of the eastern annex became a extensions to the museum and permanent art gallery Victorian Parliament Houses, and the State Government temporary home for the collection of war memorabilia continued. A Cyclorama was added in 1892. Most of of Victoria sat in the western annex of the Great Hall, brought back by returned soldiers. The exhibition of these subsidiary functions were located in the 1880 until the Federal Government vacated the State Parliament First World War relics enabled the historian CEW Bean Machinery Hall that formed the eastern annex of the building and moved to the purpose-built new capital, to pressure the Commonwealth to agree to create Great Hall. The space between had been redeveloped as Canberra, in 1927. the Australian War Memorial in Canberra. The Royal an oval and cycle track. The 1880 Industrial Hall remained In the early twentieth century, a hedged maze, eight Exhibition Building remained the principal store for the primarily as an exhibition forum. It was also used for years in preparation, was opened in front of the eastern Australian War Memorial until the building in Canberra musical concerts and gatherings that required a huge entrance and proved a popular attraction. It remained was finally opened in 1941, was its head office until the space.

Opening of Australia’s Federal Parliament, 1901. (51)

43 1930s and its Melbourne office until 1971. During the interwar years, musical concerts, the Aquarium, the Allotment of Space Melbourne ballroom and the Cyclorama continued to attract visitors Exhibition 1880. (52) to the building. Bicycle and motorcycle races were held on the oval on the north side of the building. In 1940 the Royal Exhibition Building was used for temporary troop accommodation. By the end of that year it had been requisitioned under National Security Regulations for the Royal Australian Air Force to be used for barracks and training. Extensive temporary buildings were erected on the oval between the two former machinery halls. At the end of World War II, the site returned to the management of the Exhibition Trustees. The building was in need of repair and a new direction. Although the Home Show and the Motor Show continued to be major exhibition events, and the building was also used for annual school and university examinations. A mixed collection of uses and a variety of buildings prevented a more coordinated use. Dancing continued in the ballroom; basketball and badminton were played every night; some government agencies continued their occupancy; and other government departments used the building for storage. From 1949 to 1962, the site became a major migrant reception centre, utilising the Royal Australian Air Force’s temporary huts on the oval. It escaped damage from the fire that destroyed the Aquarium in 1953. The Great Hall and a new stadium annex were used as a venue for weightlifting and basketball during the 1956 Olympic Games. Exhibition activities received a boost after the removal of the migrant centre, with the construction of a new western annex, partly attached to the main hall. A further injection of funds also occurred in 1951 when the City of Melbourne staged a ball for the then Princess Elizabeth. The new ballroom complex replaced the ‘Palais Royale’ with the ‘Royal Ballroom’. This was to have a short life. In 1979 the remnants of the 1880 eastern machinery hall and its ballroom alterations were demolished for the construction of a convention centre and an increase in on-ground car parking.

44 A new direction for the Royal Exhibition Building came control, to the Melbourne City Council. The site was with national heritage listing of the building, following declared a permanent reserve and vested in the inclusion on the Register of the National Estate in 1975, Melbourne City Council as trustees on 12 February 1864. and State listing in the Victorian Register of Government One of the significant uses of the gardens at this stage Buildings in 1982. The decision to demolish the remnants was as a social meeting place and gathering point for of the 1880 machinery hall within the Royal Ballroom the public. brought protests from the National Trust and community By 1858 minimal works undertaken at the gardens groups. Despite the eventual demolition, an included earthworks, the formation of some footpaths understanding of the cultural asset of the Exhibition and the sowing of grass. The establishment of a heated Building began to grow, prompting the commissioning of greenhouse provided an opportunity to propagate a conservation analysis (Willingham 1983). A commitment additional plants for the gardens. A Council-sponsored to undertake conservation works began in 1982 (Dunstan ploughing competition in the park cleared areas in 1996: passim). anticipation of development (Swanson 1984: 54–60). In 1995 an architectural competition for a new Melbourne The earliest landscape design for the Carlton Gardens, Museum to be located on part of the Carlton Gardens Melbourne, presented to the City’s Park Lands Committee reserve was announced, and a design was selected. in 1857 by Edward La Trobe Bateman, appears to have A freestanding building to the north of the 1880 structure been the basis for the original laying out of the gardens. was opened in 2000. The Royal Exhibition Building A somewhat later plan prepared in 1874 by Hodgkinson continued to be used as a venue for major exhibitions, of the Lands Department is thought to summarise his trade fairs and public events, the anchor events being the design intent. La Trobe Bateman made some alterations biennial Melbourne International Contemporary Art Fair to his original plan in 1868. Early photographs show the and the Melbourne International Flower and Garden path system as built, which included the main east-west Show, and as a part of the Museum’s program of events. path through the gardens connecting Queensberry to Gertrude Street to provide for pedestrians between The Carlton Gardens Carlton and Fitzroy. Fencing of separate sections meant (Meredith Gould Architects 1997: 63–74) that the gardens could be locked at night and the major The land for the Carlton Gardens was initially reserved as east-west path spine was left unlocked to allow for part of Superintendent (later Lieutenant-Governor) Charles pedestrian access at all hours. La Trobe’s network of parks and gardens that enclosed the north and east edge of the fledgling town’s centre. One of the most important developments for the site was Due to a severe lack of funds, the government was unable Melbourne’s connection in the 1860s to the Yan Yean to undertake any developmental works and most of the water supply. A regular piped water supply opened up gardens remained undeveloped and unfenced. At this new possibilities in terms of the range of plants that could time, much native timber was removed and grazing by be grown in the city and also the type of architectural and cattle and goats was a commonplace occupation of the water features such as elaborate fountains that could be land. introduced. With the connection to regular reticulation, Melbourne’s first public drinking fountain was relocated An area of 26 hectares (64 acres) was reserved for public from the city streets to the Carlton Gardens in 1863. purposes and the Carlton Gardens identified “as a recreation reserve” in the Legislative Council on 16 Photographs of the site from the 1860s and 1870s show November 1852. By 1856 a simple paling fence and the use of a range of plant species typical of the late gates had been constructed. An 1855 government nineteenth century, such as pines, cypress, poplars, and willows, contrasted with the distinctive foliage of cordyline decision relinquished routine management, but not legal Ground plan for 1888 Melbourne Exhibition. (53)

45 and rockery plants. In 1873 Clement Hodgkinson The axial layout of the building on a north-south Adjacent to the main building were two distinctive and formalised La Trobe Bateman’s earlier layout, which led alignment was carefully placed within the gardens on ornamental landscape features, in the form of large to the straightening of some of the sinuous paths, the the high point of a ridgeline, so that the building’s dome circular garden beds as floral features, surrounding a re-organisation of ornamental features such as plant would become a landmark in the surrounding city. central fountain and kiosk. A similar circular arrangement groups and shrubberies, the introduction of statuary on The adjacent gardens on the north and south sides of the was centrally placed at the south of the main entrance path axes and other points, the introduction of elaborate Yarra River, the Fitzroy, Treasury and Parliament Gardens, to accommodate the slightly off-line Spring Street and entrance gates, and the planting of tree avenues (cedars, Yarra Park and the Melbourne Botanic Gardens, all Carlton Garden axes, to form a ‘patte d’oi’. The five elms). Large specimens of trees were transplanted from heightened the contrived device of the Carlton Gardens ‘allées’ or streets of the park converge on the other public parks and garden so as to achieve a notable and Royal Exhibition Building as set within an endless commissioned Melbourne International Exhibition fountain visual impact within the shortest period of time. boulevard of greenery and civic grandeur, reminiscent (later known as the Hochgurtel fountain). The ‘patte d’oi’ of European baroque palace gardens. design feature is based on the landscape principle A large, roughly triangular lake encircled by paths in the demonstrated at France’s King Louis XIV’s royal garden north western-corner was created in an exhausted quarry. The firm of Sangster and Taylor, landscape designers and of Versailles in the seventeenth century. In this era, lakes were important not purely as decorative nurserymen, appointed in February 1879, were employed embellisments but as a watering source and for fire by architects Reed and Barnes to devise and implement Trees were carefully chosen to line the main avenues, protection. the international exhibition planting scheme. Sangster with tall deciduous plane trees for the central and most proposed to straighten some of the existing paths and, dominant vista, and smaller-growing trees such as white In November 1878 the Government passed an Act of with the removal of cedars selected for the lesser paths. The bedding and Parliament to transfer control of the Gardens to the parterres placed in front of the main building consisted newly appointed Trustees of the Melbourne International gloomy cypresses and dismal pines, make the grass grow on of ‘sunken rectangles and triangles, bordered by abrupt Exhibition. Major building and development works were the waste places, and group bright flowers and plants with attractive foliage in shapely beds. terraces; and geometrical devices have been wrought out undertaken from 1878 until the Exhibition’s opening in by means of bright-foliaged plants’. The colourful beds October 1880. The central and northernmost sections Huge quantities of soil were moved on the south side to were intended to be viewed close up as well as from the of the site were resumed for Exhibition purposes provide a level podium for the front of the building (Argus Exhibition promenade deck. Colours changed from bed (construction of the permanent building, eastern and 2 October 1880; Foster 1989: 68). to bed as a result of careful plant selection. Circular beds western annexes as well as temporary structures). In its overall design theme, the gardens draw on on the east main entrance to the building contained grass, The Exhibition Trustees had sole control over the entire landscape principles from the estates of the European French bronzes, busts, statuary and a central fountain. Carlton Gardens for the duration of the Exhibition, aristocracy, combined with elements of the international On the west a mirror image design contained similar after which they retained control over the central third, style of the nineteenth century. The use of these features ornaments from Germany, placed around a central kiosk. subsequently called the Royal Exhibition Gardens Reserve. was intended to place Melbourne in an international There was a rosary of standard, dwarf and pillar roses. The new design by Joseph Reed provided a grand context. The landscape elements included ornamental Beyond these flower beds were broad lawns and water entrance to the building, linking it with the clear vista water features and the bold layout of paths lined with in the distance in the form of two lakes, the eastern one to the other central places of democracy and civic trees to form grand allées. Trees were also planted in at a higher level, in which the building could be reflected. institution-Parliament and Government House, via a clumps or groups, reminiscent of ‘bosquets’ at Versailles, Planting around the eastern lake was of dragon trees, grande allée entrance in the form of three straight where ornamental groves of trees were used to encircle arums, palms, and fleshy-leaved plants, while on the tree-lined paths, which formed powerful converging a central space of lawn, a fountain, sculpture or more lower ground to the west of the site, Sangster provided avenues from entrances in Victoria Street. To restate elaborate set piece. The technique of transplanting large rockwork on the edge of the lake and created a semi- and reinforce the importance of this view, and the sense trees was employed in the Carlton Gardens, as in tropical setting with his selection of plants, such as yuccas, of the building as the focus of the gardens, a Promenade European gardens, to create the impression of a mature agaves, palms, pampas grass and bamboo (Foster 1989: Deck was constructed at the base of the dome, to allow landscape that contrasted with the newly-created and 67–70). Exhibition visitors an opportunity to take in the full short-lived colourful bedding plans, and the shrubberies breadth of Melbourne’s expanding urban architecture. and open expanses of lawn.

46 Following the closure of the international exhibition on 30 In the twentieth century the building was subsequently northern face of the Museum close to diagonal avenues April 1881, the north and south gardens reverted to the used for a variety of government purposes. Gradually the of chestnut-leaved oak and Dutch elm (John Patrick & conservancy of the Metropolitan Parks Committee, under Rathdowne Street garden frontage was replaced by car Allom Lovell 2002: 8). A conservation management plan Hodgkinson, who drew up a restoration scheme in 1882 parking, a process that was all but complete by the has recently been completed for the Carlton Gardens, to be implemented by the curator, Mr Bickford. 1950s. Alterations in the use of the eastern annexe with a major aim being to assist in the future care and occurred at various stages, which also largely determined development of the site. In 1887, the Carlton Gardens land was resumed by the fate of its adjacent garden areas. Trustees once more and the northern garden was built over by temporary buildings for the 1888 Centennial In 1925, the City of Melbourne removed the perimeter 3C FORM AND DATE OF THE MOST International Exhibition. The southern section of the iron fence and ornamental gates installed for the 1880 RECENT RECORDS OF THE Carlton Gardens retained the layout as implemented for Exhibition, but the bluestone plinth that defines the site PROPERTY (Meredith Gould the 1880 Exhibition, although the now more mature remains largely intact (Swanson 1984: 64). Some sections Architects 1997: 76–77) trees substituted for the colourful bedding plants. In the along the Nicholson Street edge adjacent to the Archive northern garden and the linear ribbons on the eastern Melbourne Museum and car park entries were removed The Exhibition Trustees have maintained a collection of and western aspects of the building, the plantings were recently, as part of the construction of the new Museum. documents relating to the 1880, 1888, and all intervening almost totally removed to provide for an enlarged area of A regeneration and restoration program was initiated in and subsequent exhibitions at the site. Some original exhibition buildings and displays. Other than the western the 1920s and 1930s, which introduced a range of architectural drawings and contemporary artists drawings, lake and some tree plantings, the landscape features of passive and active recreational activities and equipment as well as drawings for the majority of alterations that the site were reduced and even the circular bed and such as playgrounds and tennis courts into the northern have occurred, have also been kept. The University of German kiosk were removed from the western entrance garden, along with later toilets and a works yard later. Melbourne Archive holds the original architectural to the Palace of Industry. The only compensation was a The north garden was dedicated to active recreation and drawings. small fernery placed directly at the northern end of the service facilities while the south garden catered for passive central axis of the main building. Some parts of the archives were destroyed in the recreation and decorative floriculture and horticulture. Aquarium fire in 1953. The collection of over 3000 The northern garden was eventually restored in c1890 The ornamental features of the gardens were simplified in objects and several thousand files and images, was in line with Hodgkinson’s 1882 design and the mature the 1950s and 1960s, with some reduction of the overall catalogued during the 1990s. This is known as the Royal planting and the present layout in this part of the gardens floricultural attributes, such as the carpet beds, as the Exhibition Building Collection. In 1996 Museum Victoria is thought to date from this scheme. The simple pattern trees matured and provided more shading and a more became responsible for the Royal Exhibition Building of tree-lined diagonal paths separating garden spaces dominant visual form in the garden. This period also saw Collection. The objects are held within Museum Victoria’s provided pedestrian routes across the gardens linked to the introduction of a number of civic functions. A Model collections. Remnants of one of the temporary halls, surrounding streets. This layout is essentially unchanged Playground, constructed adjacent to the western lake in which has been relocated a number of times, is now today. the 1950s, was added to with a Children’s Traffic School, located in central Victoria and being used as part of a Four marble statues, commissioned from the Australian which was created out of the western lake. tram museum. sculptor Charles Summers, were placed around a bed at Other relatively modest works were undertaken in a Major documentation work for the Royal Exhibition the eastern entrance along with the William Westgarth utilitarian fashion. These include a tennis court, toilets, a Building and Carlton Gardens was commissioned by fountain of Aberdeen granite and the French fountain, maintenance depot in the northern part of the site, and the Exhibition Trustees and edited by David Dunstan. erected in front of the East Portico (Australasian Sketcher, the replacement of the Children’s Traffic School with a Numerous contributions by experts in the fields of art, 14 June 1888: 89). A caretaker’s brick lodge was built new adventure playground. None of these intrude in architecture, history, politics and music were published in in the north-western corner for the new curator, John any major way on the significance of the site. The 1996 as ‘Victorian Icon, The Royal Exhibition Building Guilfoyle, who occupied it in 1891. Security was not construction of the new Melbourne Museum on the Melbourne’. as high a priority in the south garden that had been left northern side of the Royal Exhibition Building has had a open at night since 1890. dramatic impact on parts of the North Garden, with the

47 Conservation Management Plans windows, doors and the east roof, and the completion First 21 Years’, on display in the northern mezzanine of In 1987 a conservation policy for the Royal Exhibition of exterior painting. the building. Building, based on the conservation analysis prepared Museum Victoria also holds the copyright for the Royal in 1983, was completed and subsequently adopted. 3E POLICIES AND PROGRAMS Exhibition Building image collection. The Museum With the handover of the management of the building RELATED TO THE PRESENTATION develops and manages all of its collections in trust for to Museum Victoria in 1996, a conservation management AND PROMOTION OF THE present and future generations, to which end it will plan was completed in 1999. It follows the format of PROPERTY provide conscientious care. Australia ICOMOS guidelines for the preparation of The presence of the Melbourne Museum, headquarters conservation plans and the principles set out in the for Museum Victoria, to the north of the Royal Exhibition The Museum also has a range of staff with specialised Australia ICOMOS Charter for the Conservation of Places Building, has increased the opportunities to present and skills in conservation, and building and facilities of Cultural Significance (Burra Charter — Appendix 3). promote the Royal Exhibition Building. management, who are responsible for management of the capital works and on-going maintenance of the A master plan for the Carlton Gardens was prepared Museum Victoria is required by legislation, through the Building. by the City of Melbourne and adopted in 1991. Museums Act 1983 (Victoria), to control, manage, A conservation analysis was completed for the Carlton operate, promote, develop and maintain the Exhibition The Royal Exhibition Building is also highlighted on Gardens in 2000 and a Conservation Management Plan land as a place for the holding of public exhibitions and Melbourne’s Golden Mile Heritage Walking Trail, which completed in 2002. for the assembly, education, instruction, entertainment or showcases the buildings and structures constructed with recreation of the public or any sector of the public. the enormous wealth created by the gold rushes in 3D PRESENT STATE OF nineteenth century Victoria. Museum Victoria’s policy in relation to the promotion of CONSERVATION the Royal Exhibition Building is to continue and increase The Royal Exhibition Building was first listed in the both of its current dual uses: the first as a functioning Victorian Government Buildings Register on 20 August commercial venue for events, exhibitions and trade fairs, 1982 and was transferred to the Victorian Heritage and the second as a visitor attraction of immense heritage Register on 23 May 1998. The Carlton Gardens were significance. added to the extent of registration on 21 March 2002. Promotion of the Building as a commercial venue is Major conservation works to the dome, roof and the handled by dedicated venue management staff. interior were completed in 1995 and were undertaken Promotion of the Royal Exhibition Building as a visitor in accordance with the Australia ICOMOS Burra Charter, attraction is handled by the Museum’s marketing and and are consistent with the requirements of the Venice public relations departments, who are experienced in the Charter. These works have returned the building to a promotion of cultural facilities. stable, dry condition and presented the interior in its 1901 form. Melbourne Museum has an extensive team of trained customer service staff who have developed a program of The building has been adapted to continue to meet the guided tours of the Royal Exhibition Building. These tours demands of exhibiting. Some changes include replacing draw on the research and curatorship of Museum staff as the floor a number of times over the past 120 years. well as the Royal Exhibition Building archives, which are The major servicing works of the mid 1980s have provided managed by the Museum. all the technological facilities needed to retain the exhibition function into the future. The Royal Exhibition Building is being interpreted by Museum Victoria, which organises regular tours of the Further conservation works were carried out in building and has developed an interpretative display ‘From 1999–2001. These include the conservation and World Fairs to Federation: The Royal Exhibition Building’s reinstatement of the rendered façades, fanlights,

48

CHAPTER 4 MANAGEMENT

51 CHAPTER 4 MANAGEMENT

4A OWNERSHIP Where such an action is proposed, it must be referred to The State Government of Victoria owns the Royal the Commonwealth Environment Minister to determine Exhibition Building and the Carlton Gardens. In 1996, the whether the action requires approval under the Act. Museums Act 1983 (Victoria) vested the general control, If approval is required, the proposed action is rigorously administration and management of the Exhibition land, assessed under the provisions of the Act. including the Royal Exhibition Building, in the Museums The Act also requires that the Commonwealth use its best Board of Victoria. endeavours to ensure that a management plan for each The Carlton Gardens are Crown Land (government declared World Heritage property is prepared and owned), permanently reserved in 1873 as gardens. implemented. The Act requires that management plans The City of Melbourne and the Minister for Conservation be consistent with the World Heritage Convention and and Environment are ‘Joint Trustees’ for the Carlton the Australian World Heritage Management Principles, Gardens. The Council has been appointed as the which promote a nationally consistent standard for Committee of Management pursuant to the Crown management of Australian World Heritage properties. Land (Reserves) Act 1978 (Victoria). The Commonwealth has proposed new heritage legislation enhancing the EPBC Act, to establish a National 4B LEGAL STATUS Heritage List, which will comprise places of significance The Royal Exhibition Building and Carlton Gardens to the nation as a whole. These places will be identified are protected under the Heritage Act 1995 (Victoria). through a rigorous assessment process, using criteria that A permit is required from Heritage Victoria for any works establish a high threshold for national significance. to either the Building or the Gardens. Places on the National Heritage List will be protected to Australia provides a high level of legal protection to its the extent of the Commonwealth’s constitutional powers. World Heritage properties. The Royal Exhibition Building The Royal Exhibition Building and Carlton Gardens will and Carlton Gardens, Melbourne, once it is inscribed on be considered as a priority for its National Heritage List the World Heritage List, will become a declared World significance. Heritage property protected under the provisions of the Commonwealth Government’s Environment Protection 4C PROTECTIVE MEASURES AND and Biodiversity Conservation Act 1999 (EPBC). Under MEANS OF IMPLEMENTING certain conditions, the protection of the EPBC Act can also THEM be applied to the Royal Exhibition Building and Carlton The significance of the Royal Exhibition Building and Gardens, following its nomination but prior to its Carlton Gardens is currently recognised by listing on inscription on the World Heritage List. four separate heritage registers, as follows:

Under the EPBC Act, any action, whether taken inside Register of the National Estate or outside the boundaries of a declared World Heritage The Building and Gardens are listed on the property, which may have a significant impact on the Commonwealth Government’s Register of the National Ceiling decoration, Royal Exhibition Building today. (54) World Heritage values of the property, is prohibited. Estate (Royal Exhibition Building: Register number 005173;

52 Exhibition Buildings, Carlton Gardens Conservation Area: Victorian Heritage Register Heritage Overlay Register number 005274; and Carlton Gardens, South The Building and the Gardens are listed in the Victorian The Royal Exhibition Building and Carlton Gardens are Section: Register number 017304). Heritage Register, no. H1501 established under the listed in the Heritage Overlay of the Melbourne Planning The Australian Heritage Commission (the Commission) Heritage Act 1995 (Victoria). No works can be Scheme. As the place is listed in the Victorian Heritage administers the Register of the National Estate (the undertaken to a place listed in the Victorian Heritage Register no planning permit is required under the Heritage Register) under the Australian Heritage Commission Act Register unless a permit has been granted by the Overlay if either: Executive Director, Heritage Victoria. The Executive 1975 (the Act). •A permit for development has been granted under the Director must consider the impact the proposed works Heritage Act 1995 The Register is the national inventory of places that have will have on the cultural heritage significance of the place been identified as components of the National Estate. when determining an application. • The development is exempt under Section 66 of the It alerts planners, decision makers, researchers and the Heritage Act 1995 community about the existence and location of national If the Executive Director considers that the proposed estate places and the heritage value of those places. works will have a detrimental effect on the place, public The surrounding areas to the north, west and south are Listing a place in the Register does not provide any direct Advertisement of the application is required. Any member subject to local heritage protection provisions through legal constraints or controls over the actions of State or of the public who sent a written submission is invited to the Heritage Overlay of the Melbourne Planning Scheme local government, or of private owners. attend a meeting to discuss their concerns. Submissions administered by the City of Melbourne. Any development on the proposal, both written and formally presented are in this area would require a permit from the City of However, entry in the Register does provide protection taken into account when determining the application. Melbourne. The area to the east of the site is protected to a place from actions proposed by the Commonwealth Any permits or refusals by the Executive Director can subject to local heritage protection provisions through government. Two sections of the Act impose obligations be appealed to the Heritage Council of Victoria. the Heritage Overlay of the Yarra Planning Scheme. on Commonwealth ministers, departments and The Heritage Council has a formal appeal process, Any development in this area would require a permit authorities. Section 9 requires all Commonwealth which invites submissions from the applicant, owner from the City of Yarra. departments and authorities to give the Commission and any interested parties to assist in their determination. whatever assistance is reasonably practical in carrying Any works for places in the surrounding area of the Royal out its functions. Section 30 requires Commonwealth CONTACT: Exhibition Building and Carlton Gardens would require agencies to consult the Commission before taking any Executive Director a permit. Permit applications are assessed against action that might significantly affect the values of a place Heritage Victoria requirements of the overlay and any planning policies that in the Register. Under the Act, Commonwealth agencies GPO Box 2797Y are appropriate. An appeals process through the Victorian must not take an action that would adversely affect a MELBOURNE VIC 3001 Civil and Administrative Tribunal allows objectors to the place in the Register, unless there is no prudent or feasible Telephone: (03) 9655 6519 works, or the applicant to appeal a permit, its conditions alternative. If no prudent or feasible alternative exists, the or a refusal for works. Any member of the community agency must minimise the adverse effects of the proposal. may be an objector and take the matter to Appeal. CONTACT: CONTACT: Executive Director Chief Executive Officer Australian Heritage Commission The City of Melbourne GPO Box 787 GPO Box 1603M CANBERRA ACT 2601 MELBOURNE VIC 3001 Telephone: (02) 6274 2111 Telephone: (03) 9658 9800. 53 The National Trust of Australia (Victoria) Carlton Gardens Day-to-day maintenance is carried out by a private The Royal Exhibition Building and the Carlton Gardens The City of Melbourne has been appointed as the contractor to City of Melbourne specification and are each listed on the register of the National Trust of Committee of Management pursuant to the Crown requirements, administered by the Parks & Recreation Australia (Victoria). National Trust listing implies no Lands (Reserves) Act 1978 (Victoria). Group. control over private individuals or government, however if The primary management authority rests with: Contact details are as follows: applications for works are advertised by Heritage Victoria they are automatically referred to the National Trust of Chief Executive Officer Chief Executive Officer Australia (Victoria). The National Trust is a not-for-profit City of Melbourne The City of Melbourne organisation and has been established to represent the GPO Box 1603M GPO Box 1603M community’s views on heritage issues. MELBOURNE VIC 3000 MELBOURNE VIC 3001 Telephone: (03) 9658 9658 Telephone: (03) 9658 9658 CONTACT: Chief Executive Officer 4E LEVEL AT WHICH MANAGEMENT 4F AGREED PLANS RELATING TO The National Trust of Australia (Victoria) PROPERTY Tasma Terrace IS EXERCISED The Museums Board of Victoria has overall responsibility A conservation management plan has been prepared for 4 Parliament Place for the Royal Exhibition Building site, with day-today the Royal Exhibition Building and another for the Carlton EAST MELBOURNE VIC 3002 management resting with the Melbourne Museum Gardens. Telephone: 03 9656 9800 Division. The Royal Exhibition Building Conservation Management Other Protective Measures Museum Victoria holds informal community consultation Plan (Allom Lovell and Associates, 1999) provides direction A number of heritage items associated with the Building meetings through the Carlton Residents Association, an for all works to be undertaken in the building and is including paintings, photographs, documents and objects active local community group. The purpose of these reviewed and updated on a five yearly basis (refer have been registered to the State collections. The meetings is to disseminate information and discuss issues Annexure A). Museums Act, 1983 (Victoria) protects these items from of concern relating to the Royal Exhibition Building and The Carlton Gardens Conservation Management Plan being sold, leased or disposed of without the approval of Carlton Gardens. created in 2002 (John Patrick Pty Ltd and Allom Lovell & the Museums Board of Victoria. Any Indigenous cultural issues associated with the Royal Associates, 2002) provides direction for the management of the Carlton Gardens (refer Annexure B). 4D AGENCIES WITH MANAGEMENT Exhibition Building are referred to the Museum Victoria AUTHORITY Aboriginal Cultural Heritage Advisory Community Group, An asset register, held by Museum Victoria, exists for the a sub-committee of the Museums Board of Victoria. Royal Exhibition Building and its contents. Royal Exhibition Building Day-to-day management is the responsibility of: Management authority for the Royal Exhibition Building 4G SOURCES AND LEVELS OF rests with the Museums Board of Victoria (trading as The Director FINANCE Melbourne Museum Museum Victoria) a statutory corporation established Day-to-day management operations for the Royal 11 Nicholson Street under the Museums Act 1983 (Victoria). Exhibition Building are financed from its commercial CARLTON VIC 3053 revenue stream. In addition, Museum Victoria provides a The primary management authority rests with: Telephone: (03) 8341 7779. budget for expenditure on site interpretation. For specific Chief Executive Officer The City of Melbourne has overall responsibility for the capital works on the building, application is made to the Museum Victoria day-to-day planning, management and care of the Expenditure Review Committee of the State Government 11 Nicholson Street Carlton Gardens on behalf of the joint trustees. of Victoria. CARLTON VICTORIA 3053 The Parks and Recreation Group of the City of Melbourne The City of Melbourne funds the management, capital Telephone: (03) 9341 7110. undertakes the planning and management roles directly, works and maintenance of Carlton Gardens. The City of and is located less than 1 kilometre from the site.

54 Melbourne is a municipal authority, primarily funded by (ii) Property museum, visitor or interpretation (vii) Lavatories annual rates on all properties. centre The building has two sets of public lavatories on the The adjacent Melbourne Museum is well resourced with ground level and one set on the Gallery level. 4H SOURCES OF EXPERTISE AND staff and facilities for visitors to the Royal Exhibition The Gardens has two public lavatories. TRAINING IN CONSERVATION Building. Staff are trained to address the needs of a AND MANAGEMENT variety of audiences including international visitors and The Melbourne Museum has extensive public lavatories TECHNIQUES groups with special needs. that are accessible in all public areas of the museum. For the Royal Exhibition Building Collection, Museum Over 300 000 people visit the Royal Exhibition Building (viii) Security staff have expertise in conservation practices as well as in each year for commercial events alone. As a functional Given its urban location, search and rescue is not research and curatorial areas. In addition, the operational venue with a wide variety of public uses, the Royal considered to be applicable to the Royal Exhibition departments of the Museum have expertise in venue and Exhibition Building is able to service large visitor numbers. Building and Carlton Gardens. The building is alarmed event management. Specialist architectural conservation The building also includes a theatrette, which is used for out of hours and at night a security company provides advice is sought from heritage architects. audiovisual shows to complement Royal Exhibition regular patrols of the area. For the Carlton Gardens, the City of Melbourne uses Building tours. It is intended that the dome promenade, the services of landscape architects, conservators and which was an attraction to nineteenth century visitors to 4J PROPERTY MANAGEMENT PLAN arboriculturalists who are trained and skilled in the the site, be re-opened to the public in the near future. Museum Victoria has a Buildings and Facilities group and conservation and management of landscapes of cultural a Venue Management group that are responsible for the significance. (iii) Overnight accommodation property management of the Royal Exhibition Building, Extensive tourist accommodation, information, and As well, Heritage Victoria is resourced with appropriate including security, building maintenance, and project entertainment facilities are located in the adjoining central personnel to ensure that the significant places in the management. business district and suburbs. Victorian Heritage Register are conserved and managed The maintenance regime ensures regular upkeep of fire in accordance with world’s best practice. (iv) Restaurant or refreshment facilities protection systems including sprinklers, hydrants and The Royal Exhibition Building includes a catering outlet, portable sprinklers. Emergency and exit lighting systems 4I VISITOR FACILITIES AND which is open during large events. Melbourne Museum, are tested twice a year. Electrical switchboards are STATISTICS across the plaza offers a number of outlets from bistro thermo-scanned at least once a year. (i) Interpretation style restaurant to more informal family The interpretation strategy of the Royal Exhibition eating/refreshment areas. 4K STAFFING LEVELS The Museums Board of Victoria employs a number of Building includes both static displays and guided tours. The area is located next to the central business district and staff dedicated to the operation of the Royal Exhibition Static displays are concentrated on the Gallery/Mezzanine two major precincts with extensive restaurants and cafes. Building: a venue manager, an operation manager and an level and consist of large-scale images, banners, objects Visitors to the Royal Exhibition Building and Carlton office manager. Casual staff members are also employed and text panels. Gardens are able to experience a variety of restaurants to assist with operations. Daily guided tours are led by Museum staff, and include with many different types of cuisine. a slide show based on the history of the building. The City of Melbourne has a Policy and Planning Unit and (v) Shops a Contracts and Business Support Unit that are responsible The building is also included as a highpoint on Melbourne Museum has a large commercial outlet over for the planning and management of the Carlton Melbourne’s Golden Mile Heritage Trail, a walking tour two levels that have high exposure to large audiences and Gardens. The City of Melbourne has engaged specialist of important sites of early Melbourne includes products relating to the Royal Exhibition Building. open space and tree management contractors to (www.melbournesgoldenmile.com). undertake day-to-day maintenance works.

55 CHAPTER 5 FACTORS AFFECTING THE PROPERTY

57 CHAPTER 5 FACTORS AFFECTING THE PROPERTY

5A DEVELOPMENT PRESSURES 5D VISITOR/TOURISM PRESSURES The Royal Exhibition Building and Carlton Gardens site Over 800 000 people visited the neighbouring Melbourne cannot be sold or transferred without an Act of the Museum in its first year of operation (2000-2001). Victorian State Parliament. It is considered that there The Royal Exhibition Building currently handles large are no major development pressures on the Gardens. crowds and museum visitors are not considered a pressure on the building, particularly given the upgrade projects 5B ENVIRONMENTAL PRESSURES in process. Melbourne is a city with over 3 million people. The Carlton Gardens are used by residents and visitors The Environment Protection Authority, a statutory body to Melbourne. They are a popular attraction next to the of the State Government, monitors air quality for the city. central business district. Once a year the Gardens are Melbourne has some days, particularly in autumn when utilised by exhibitors for the Melbourne International air quality is affected by vehicle emissions, combined with Flower and Garden show, one of the most popular a temperature inversion pattern that traps the pollutant events for the precinct. The Gardens are attended to products over the city. Generally however, Melbourne and repaired immediately after the event if necessary. has very high air quality and pollution is not a problem for the conservation of building materials or landscape plants 5E NUMBER OF INHABITANTS at the present time. No other environmental pressures that might affect the buildings or gardens, such as those WITHIN PROPERTY One caretaker lives on the site in the garden caretaker’s related to water quality or contamination of the land are cottage in the north-west corner. Approximately apparent. twelve people currently work at the 1880 building now. 5C NATURAL DISASTERS AND The Museum building has a staff of over 100 people working on the Melbourne Museum site and security PREPAREDNESS personnel who are on-site 24 hours a day. Whilst small earthquakes have been recorded in Melbourne, it is not a high-risk zone for this natural Art Fair, October 2002. (55) activity. The only clear risk to the building is fire. A substantial component of its construction is timber and fire could destroy the building very quickly. To diminish the risk of fire, a full sprinkler system has been installed. Fire alarms connect directly with the central Melbourne Fire Brigade, which is located less than 500 metres away from the site. This fire service operates on a turnout time (the time taken from alarm to arrival at site) of a maximum 7.7 minutes. In the event of fire, adequate resources are available to contain damage.

58 CHAPTER 6 MONITORING

59 CHAPTER 6 MONITORING

6A KEY INDICATORS FOR MEASURING STATE OF CONSERVATION Museum Victoria is developing a long-term strategic maintenance plan for the Royal Exhibition Building involving a conditions assessment of all buildings and supporting services, costing for life cycle purposes on plant, and equipment, fabric and surfaces. The maintenance plan will cover a twenty-five year period and will be reviewed at five yearly intervals. 6B ADMINISTRATIVE ARRANGEMENTS FOR MONITORING THE PROPERTY As custodian of the property, Museum Victoria is responsible for monitoring of the Royal Exhibition Building. The City of Melbourne is responsible for monitoring the Carlton Gardens. 6C RESULTS OF PREVIOUS REPORTING EXERCISES Previous reporting exercises led to the development of the Royal Exhibition Building Conservation Management Plan. Recent investigations of the floor structure revealed that a replacement timber floor was required due to the damage to the Cypress Pine floor (which was installed in 1984). A new hardwood floor has been specified by a consulting heritage architect and will be laid in 2003.

Royal Exhibition Building, October 2002, east elevation (56)

60 CHAPTER 7 DOCUMENTATION

61 CHAPTER 7 DOCUMENTATION

7A LIST OF ILLUSTRATIONS, SLIDES 2. By permission of the National Library of Australia AND VIDEO (7) Plan of Gardens: The Melbourne International Exhibition 1880. (1,9) Permanent Building from Nicholson St in 1880, List of Illustrations The Melbourne International Exhibition Souvenir 1. La Trobe Picture Collection, State Library of Album 1880. Victoria (13) The Melbourne International Exhibition – Interior of (36) Melbourne Centennial Exhibition Building and the Main Building, Illustrated Sydney News 30 October Model School (foreground), photographer Charles 1880. Rudd 1849-1901. (16) Victoria Welcomes All Nations – the entrance to the (15) Germany congratulates Australia – stand at an Grand Avenue of Nations from the Great Hall 1888, exhibition, The Melbourne International Exhibition The Melbourne International Exhibition Souvenir 1888. Album 1888. (22) The Exhibition by night. The Melbourne (17) The German Imperial Pavilion, The Melbourne International Exhibition 1888, F A Sleap, wood International Exhibition Souvenir Album 1880. engraving 13 October 1888. (18) Front of the Swiss Court–Main Avenue, The Melbourne (27) Ground Plan of the Melbourne International International Exhibition Souvenir Album 1880. Exhibition 1880, wood engraving 9 October 1880. (19) Entrance United States Court, Grand Avenue of (46) The Centennial International Exhibition 1888; Nations, The Melbourne Centennial International preparing for the exhibition, A C Cooke, wood Exhibition Souvenir Album 1888. engraving 12 July 1888. (25) Timber Trophy New Zealand Court. The Melbourne (49) Electric lamps at the Melbourne Electrical Exhibition Centennial International Exhibition Souvenir Album 1882, wood engraving 1 July 1882. 1888. (50) Electric Lighting at the Exhibition, The Melbourne (23) Victorian Locomotives, The Melbourne International Centennial International Exhibition 1888, wood Exhibition Souvenir Album 1880. engraving 6 September 1888. (26) View in the British Engineering Court, The Melbourne Centennial International Exhibition Souvenir Album 1888. (57) Australian Commonwealth celebrations; an invitation Invitation to a conversazione, Exhibition Building, 1901. (57) to a conversazione in the Exhibition Building, 7 May, 1901, GBH Austin, Melbourne, Sands and Mc Dougall, 1901.

62 (20) View in the Armament Court, The Melbourne 4. Allom Lovell & Associates Pty Ltd, Royal Centennial International Exhibition Souvenir Album Exhibition Building, Conservation Management 1888. Plan, Melbourne, August 1999. (24) Interior of the French Court, The Melbourne (52) Page B2, Allottment of Space Melbourne Centennial International Exhibition Souvenir Album International Exhibition 1880. 1888. (53) Page B3, Ground Plan of Permanent Buildings and (35) The Melbourne Centennial International Exhibition Annexes, Melbourne Centennial International 1888, supplement to the Australasian 4 August Exhibition 1888. 1888, Troedel & Co Lithograph and Print. (44) The International Exhibition, Melbourne, in its 5. Museum Victoria Collection landscaped grounds. Australasian Sketcher 25 (29) New South Wales and Victoria stands, the September 1880. Melbourne International Exhibition 1880. (47) Whitehead’s Map of Melbourne and Suburbs 1887. (33) Coloured tile made in England and displayed at the (48) Plan of Melbourne and Suburbs 1866 (F882). Melbourne International Exhibition 1880, photographer John Broomfield. (34) Model of “Charlotte Dundas”, ‘the first practical 3. Bates Smart, Architects, Interior Designers, vessel built for, and equipped with, a steam engine’, Urban Design & Strategy, 1 Nicholson Street, 1801–02, exhibited at the Melbourne Centennial Melbourne 3000. Exhibition, 1888-89, photographer John Broomfield. Reed and Barnes drawings of the Royal Exhibition (30) Model power loom, based on a design by George Building 1879. Hattersley and exhibited at the Melbourne (41) South Elevation. Centennial Exhibition, 1888-89, photographer John Broomfield. (43) Section of the nave showing the dome and transepts in elevation. (32) Turkey red cotton yarn, exhibited at the Melbourne Centennial Exhibition, 1888-89, photographer John (42) Part Ground Floor and part Upper Floor Plan. Broomfield. (39) Section through the Dome showing lower levels. (51) Opening of Federal Parliament 9 May 1901, Charles (40) South Elevation with partial plans and details. Nuttall. (Images supplied by Allom Lovell & Associates, (55,58) Art fair in the Royal Exhibition Building 4 October Pty Ltd, Melbourne.) 2002, photographer Benjamin Healley. (2)* Various details of internal decorations used throughout document. Art Fair, October 2002. (55)

63 6. City of Melbourne, Royal Exhibition Building and (28) Page 120: Pottery ware under the dome of the Slides Carlton Gardens, Melbourne Australia, May1997 Melbourne International Exhibition 1880-81 (‘Royal Eight 35 mm colour transparencies: photographer: Exhibition Building Collection’, Museum Victoria.). (3) Top. Crystal palace 1851: print by Burton. (after D. Bishop; copyright: Environment Australia, Friebe, W, Buildings of the World Exhibitions, (37) Page 257: The Promenade Deck surrounding the Commonwealth of Australia (copyright free for Leipzig, 1985). dome was one of the main attractions at the non-commercial use). Melbourne International Exhibitions of 1880 and Bottom. Crystal Palace watercolour, 1851, James 1. Royal Exhibition Building and Carlton Gardens, 1888 (‘Royal Exhibition Building Collection’, Roberts (after Friebe, W, Buildings of the World October 2002, looking NW. Museum Victoria.). Exhibitions, Leipzig, 1985). 2. Royal Exhibition Building and Hochgurtel Fountain, (4) Chicago Art Hall 1893, (after Aylesworth T & V, October 2002. 8. Heritage Victoria Chicago, 1990). 3. Royal Exhibition Building and Carlton Gardens, (7) Site plans and the modern aerial photograph taken (5) Petit Palais, Paris Art Hall, 1900, (after Friebe, W, October 2002. from the State Heritage Inventory files for the Royal Buildings of the World Exhibitions, Leipzig, 1985.) Exhibition Building. 4. Royal Exhibition Building east elevation, October 2002. (11) ‘Grand Allee’ 2002. Aerial view of the site in 2002. 5. Royal Exhibition Building south entrance and (14) Royal Exhibition Building during the International Hochgurtel Fountain, October 2002. (Maps 1&2) Site and location maps. Flower Show March 1997. 6. Royal Exhibition Building and Carlton Gardens looking (6) Philadelphia Art Hall 1876, (after Friebe, W, NE, October 2002. Buildings of the World Exhibitions, Leipzig, 1985) 9. Environment Australia, Commonwealth 7. Royal Exhibition Building, October 2002, east elevation. of Australia, photographer David Bishop. The South Elevation April 1997. (used at various 8. Royal Exhibition Building, skyline from Melbourne pages as the lead in image) (10) Royal Exhibition Building and Carlton Gardens, Central Business District, October 2002. October 2002, looking NW. Four 35mm slides: photographer: J Ramsay; copyright 7. Dunstan D, et al, Victorian Icon: The Royal (12,60) Royal Exhibition Building and Carlton Gardens, free for non-commercial use. Exhibition Building, Melbourne, The Exhibition October 2002. Trustees, Melbourne, 1996. 1. Royal Exhibition Building east elevation, October 2001. (45) Royal Exhibition Building and Carlton Gardens (38) Page 116: The Main Avenue (The Grand Avenue looking NE, October 2002. 2. Royal Exhibition Building southern entrance, of Nations) looking north. (Book Collection, State October 2001. (56) Royal Exhibition Building east elevation, Library of Victoria, Illustrated Australian News, October 2002. 3. Royal Exhibition Building Hochgurtel Fountain, 6 November 1880.) October 2001. (8) Royal Exhibition Building, skyline from Melbourne (31) Page 118: British stands under the dome of the Central Business District, October 2002. 4. Royal Exhibition Building, Westgarth Drinking Fountain, Melbourne International Exhibition 1880-81. (La October 2001. Trobe Picture Collection, State Library of Victoria, The British Court, Illustrated Australian News, 12 February 1881.) (21) Page 201: The specially installed ‘safety lift’ at the Centennial International Exhibition 1888 allowed access to the viewing platform at the dome (‘The Waygood Safety Lift’, Australasian Ironmonger 1 November 1888.).

64 Video 7B COPIES OF PROPERTY Australasian Sketcher 15 March 1879, 7 June 1879, 22 November 1879, 24 July 1880, 16 April , 1881, 14 June VHS video, PAL format, Royal Exhibition Building and MANAGEMENT PLANS AND 1888. Carlton Gardens, 1997; copyright Melbourne City Council EXTRACTS OF OTHER PLANS (copyright free for non-commercial use). RELEVANT TO THE PROPERTY Barrow, E 1968, ‘The Melbourne Exhibition: Its Relationship with and Place in the Cultural Life of Annexure A – The Royal Exhibition Building Marvellous Melbourne’, Unpublished BA (Hons) Thesis, Ancillary materials Conservation Management Plan, 1999 University of Melbourne. 1. CDROM, PDF file of nomination document. Annexure B – The Carlton Gardens Bate, W 1999, Victorian Gold Rushes, 2nd edn, Sovereign Conservation Management Plan, 2002 2. Dunstan, D 1996, Victorian Icon: The Royal Exhibition Hill Museums Association, Ballarat. Building, Melbourne, The Exhibition Trustees, Beaver, P 1970, The Crystal Palace 1851–1936, Hugh Melbourne. 7C BIBLIOGRAPHY Evelyn, London. 3. Heritage Act 1995, Reprint No. 3, Victoria. Books, newspapers and articles Adkisson, B 2002, Community Relations Officer, Saint Benedict, B 1983, The Anthropology of World’s Fairs. 4. Carlton Gardens Conservation Management Plan, Louis Art Museum, Saint Louis, Personal Communication San Francisco’s Panama Pacific International Exposition prepared for the City of Melbourne by John Patrick Pty. via email - [email protected] 26 October 2002. of 1915, Lowie Museum of Anthropology in assoc. with Ltd. in association with Allom Lovell and Associates, Scolar Press, London March 2002. Age (Melbourne) newspaper, 31 January 1889. Blumerson, J 1990, Ontario Architecture, Fitzhenry and 5. Royal Exhibition Building Conservation Management Aitken, R and Beaver, D 1989, ‘Prince Alfred Park Sydney: Whiteside. Plan, Allom Lovell and Associates, August 1999. A Park for the Machine Age’, Australian Garden History Journal, 1, October-November, pp. 4-8. Briggs, A 1963, Victorian Cities, Odhams Press, London. 6. Environment Protection and Biodiversity Conservation Briggs, A 1970, Victorian People, Penguin Books, Act 1999, Reprint 1, Commonwealth of Australia, Allom Lovell and Associates 1999, Royal Exhibition Harmondsworth. 2002. Building Conservation Management Plan, for the Museum of Victoria, Melbourne. Briggs, A 1983, A Social History of England, Penguin Allwood, J 1977, The Great Exhibitions, Studio Vista, Books, Harmondsworth. London. Briggs, A 2002, ‘The History of International Exhibitions.’ Apperly, R, Irving, R and Reynolds, P 1989, A Pictorial Manuscript prepared for the Commonwealth Department Guide to Identifying Australian Architecture, Angus & of the Environment and Heritage, Canberra. Robertson, North Ryde, NSW. Butlin, NG 1964, Investment in Australian Economic Appelbaum, S 1980, The Chicago World’s Fair of 1893: Development 1861–1900, Cambridge University Press, A Photographic Record, Dover, New York. Cambridge. Argus (Melbourne) newspaper, ‘Exhibition Supplement’, Cahir, A (in press), Surf Coast Wrecks: Historical Thematic 2 October 1880, 16 July 1881, 12 July 1888, 2 August Report Environment Australia and Heritage Victoria, 1888. Department of Infrastructure, Melbourne. Australian Council of National Trusts 1971, Historic Public Colligan, M 2002, Canvas Documentaries: Panoramic Buildings of Australia, Cassell Australia, North Melbourne. Entertainments in Nineteenth Century Australia and New Zealand. Melbourne University Press, Carlton. Australasian Decorator and Painter 1 August 1913, Comettant, O 1980, In the Land of Kangaroos and Gold ‘Modern Aestheticism’. Mines, trans. Judith Armstrong, Rigby, Adelaide. (First published 1890)

65 Country Life 10 January 1985 (copy in Melbourne Foster, JH 1989, Victorian Picturesque: The Colonial Hudson, K 1996, Industrial Archaeology, Bodley Head, Exhibition Buildings Archives). Gardens of William Sangster, History Department, London. University of Melbourne, Parkville, Victoria. Crowley, F 1980, Colonial Australia, 1875-1900. Hughes, R 1970, The Art of Australia, rev edn, Penguin Documentary History of Australia, 3), Nelson, West Fox, P 1990, ‘Exhibition City: Melbourne and the 1880 Books, Harmondsworth. Melbourne. International Exhibition’ Transition, Summer, 1990, pp. Illustrated Australian News 1878, ‘Accepted Design for the 63–71. Davis, JR 2000, ‘From the Great Exhibition to Expo 2000: International Exhibition Building’, 10 June 1878, p. 103. The History of Display’, German Historical Institute London Friebe, W 1985, Buildings of the World Exhibitions, Edition Intergovernmental Committee for the Protection of the Bulletin, 22, no. 2, November, pp. 7-19. Leipzig, Leipzig. World Cultural and Natural Heritage Operational Davison, G 1978, The Rise and Fall of Marvellous Geppert, Alexander C.T., Jean Coffey and Tammy Lau: Guidelines for the Implementation of the World Heritage Melbourne, Melbourne University Press, Melbourne. International Exhibitions, Expositions Universelles and Convention, July 2002, World Heritage Centre, UNESCO, World’s Fairs, 1851-1951: A Bibliography. Davison, G 1983, ‘Exhibitions’, Australian Cultural History, Paris. URL: www.theo.tu-cottbus.de/Wolke/eng/Bibliography/ 1982-83, no. 2, pp. 5-21. ExpoBibliography.htm [accessed 14 November 2002] International Exhibition at Paris 1878, Report of the Repr. 1988, ‘Festivals of Nationhood: the International Commissioners for Victoria, Melbourne. Gibbs-Smith, CH 1950, The Great Exhibition of 1851: Exhibitions’ in S.L. Goldberg and F.M. Smith (eds), A Commemorative Album, HMSO, London. John Patrick Pty Ltd & Allom Lovell and Associates 2002, Australian Cultural History, Cambridge University Press. Carlton Gardens Conservation Management Plan, for the Goad, P 1999, Melbourne Architecture, Watermark Press, Davison, G, McCarty, JW and McLeary, A 1987, City of Melbourne. Sydney. Australians, 1888, Fairfax, Syme & Weldon Associates, Johnson, EDH (ed) 1964, The World of the Victorians: Broadway, NSW. Goldberg, SL and Smith, FB 1988, Australian Cultural An Anthology of Poetry and Prose, Charles Scribner’s History, Cambridge University Press, Cambridge. Dingle, T 1984, The Victorians: Settling, Fairfax, Syme & Sons, New York. Weldon, McMahons Point, NSW. Grant, J and Serle, G 1878, The Melbourne Scene, Kellaway, C 1988, Melbourne Trades Hall Lygon Street 1803-1956, Hale & Iremonger, Neutral Bay, NSW. Drexler, A 1977, The Architecture of the Ecole des Carlton: The Workingman’s Parliament, Melbourne. Beaux-Arts, Museum of Modern Art, New York Greenhalgh, P 1988, Ephemeral Vistas: The Expositions Kenwood, AG and Lougheed, AL 1992, The Growth of Universelles, Great Exhibitions and World’s Fairs, Dunstan, D 1996, Victorian Icon: The Royal Exhibition the International Economy 1820–1990, 3rd edition, 1851–1939, Manchester University Press. Building, Melbourne. The Exhibition Trustees, Melbourne. Routledge, London. Harley, CK 1996, The Integration of the World Economy English Heritage 2001, Crystal Palace Park, citation Kinchin, P and Kinchin, J 1988, Glasgow’s Great 1850–1914, The Growth of the World Economy, vol. 3, prepared by English Heritage. Exhibitions, White Cockdale, Glasgow. Edward Elgar Publishing, Cheltenham, U.K. Ewald, D and Clute, P 1991, San Francisco Invites the Larson, G and Pridmore, J 1993, Chicago Architecture Havinden, M and Meredith, D 1993, Colonialism and World-The Panama Pacific International Exposition of and Design, H. N. Abrams, New York. Development: Britain and its Tropical Colonies, 1850- 1915, Chronicle Books, San Francisco. 1960, Routledge, London. Ley, D and Olds, K 1992, ‘World’s Fairs and the Culture of Farrer, KYH 1980, A Settlement Amply Supplied: Food Consumption in the Contemporary City’, in K. Anderson Hitchcock, HR 1975, Architecture: Nineteenth and Technology in Nineteenth Century Australia, Melbourne and F. Gale (eds) Inventing Places: Studies in Cultural Twentieth Centuries, Penguin, Harmondsworth. University Press, Carlton. Geography, Longman Cheshire, Melbourne. Hodgkinson, D 1980, The Albert Hall, 1890-1980, Findling, JE and Pelle, KD 1990, Historical Dictionary of Linge, GJR 1979, Industrial Awakening: A Geography of Launceston, Tas. World Fairs and Expositions 1851–1988, Greenwood Australian Manufacturing 1788–1890, Australian National Press, London. Hoffenberg, PH 2001, An Empire on Display: English, University Press, Canberra. Indian and Australian Exhibitions from the Crystal Palace Foster, JH 1984, ‘The Carlton Gardens: The Gardens with McCann, J 1994, Victorian Steampower, Victoria Press, to the Great War. University of California Press, Berkeley, a Jinx’ in Landscape Australia, 4, pp. 265–75. Melbourne. Calif.

66 McKean, J 1994, Crystal Palace London 1851, Architects: Parris, J and Shaw, AGL 1980, ‘The Melbourne Serle, G 1971, The Rush to be Rich: A History of the Joseph Paxton and Charles Fox, Phaidon Press, London. International Exhibition 1880-1881’, Victorian Historical Colony of Victoria, 1883-1889, Melbourne University Journal, November, pp. 237-54. Press, Carlton. McLean J, Glasgow puts Kelvingrove treasures on the road. Available from: http://www.theherald.co.uk/ Patrick, J 2000, ‘Carlton Gardens Conservation Analysis’, Singer, D 1995, Structures that Changed the Way the news/archive/26-4-19101-0-22-13.html [Accessed 14 unpublished report prepared for the City of Melbourne. World Looked, Raintree Steck-Vaughn, Austin, Texas. November 2002] Pearson, M and Marshall, D 2002, ‘Assessment of the City Sotheby’s 1988, Ceramics and Works of Art, Melbourne, Massina’s Popular Guide to the Melbourne International of Melbourne 1997 Draft World Heritage Nomination for 8 November. Exhibition of 1880-81, Melbourne 1880. the Royal Exhibition Building and Carlton Gardens’, Swanson, R 1984, Melbourne’s Historic Public Gardens: a prepared for the Department of the Environment and Mattie, E 1998, World’s Fairs. Princeton Architectural Management and Conservation Guide, City of Melbourne. Heritage, Commonwealth of Australia. Press, New York. Thomson, J.R 1968, ‘The Melbourne Centennial Portland Guardian 7 September 1880, p. 2 ‘The Melbourne Exhibition’, 1881, Manufacturer and International Exhibition 1888-89: Public Ostentation in Builder, 13, no. 1, January, p. 16. Powell, J 1989, Watering the Garden State: Water, Land an Era of Extravagance’, unpublished BA (Hons) Thesis, and Community in Victoria 1834-1988, Allen & Unwin, Monash University. ‘The Melbourne Exhibition and the Fine Arts’,1881, Art Sydney. Journal, pp. 324-28. Trumble, A 2001, ‘Exhibitions’, in G.Davison, J. Hirst and Prague Eyewitness Travel Guide, 1994. S.Macintyre (eds), Oxford Companion to Australian Mercer, P 1981, ‘The Tasmanian International Exhibition, History, rev edn, Oxford University Press, South 1894-95; An Ephemeral Event or a Lasting Legacy’, Papers Raeburn, M 1982, Architecture of the Western World, Melbourne. and Proceedings, Tasmanian Historical Research Rizzoli, New York. Association, March, pp. 17-41. ‘Two International Expositions’ 1887, New York Times, Rasmussen, C 2001, A Museum for the People: A History 20 December, p. 3. Meredith, D and Dyster, B 1999, Australia in the Global of Museum Victoria and its Predecessors, 1854-2000, Economy: Continuity and Change, Cambridge University Scribe Publications, Carlton. Twopeny, REN 1973, Town Life in Australia, Facsimile edn, Press, Cambridge. Sydney University Press, Sydney. (First published 1883). Rydell, RW 1992, The Books of the Fairs: Materials about Meredith Gould Architects 1997, ‘Royal Exhibition Building World’s Fairs, 1834-1916, in the Smithsonian Institution Vamplew, W 1987, Australians: Historical Statistics, and Carlton Gardens: [draft] nomination for inscription on Libraries, American Library Association, Chicago. Fairfax, Syme & Weldon Associates, Broadway, NSW. the World Heritage List’, for the City of Melbourne and Gwinn, N 1994, Fair Representations: World’s Veit-Brause, I 1986, ‘German-Australian Relations at Official Record of the Centennial International Exhibition, Fairs and the Modern World, VU University Press, the Time of the Centennial International Exhibition, Melbourne 1888-89, Sands & McDougall, Melbourne, Amsterdam. Melbourne, 1888’, Australian Journal of Politics and 1890. History, 32, no. 2, pp. 201-16. Royal Commission for the Australian International Official Record of the Melbourne International Exhibition Exhibitions, 1882, Report, London. ‘Victoria at the Great Exhibitions, 1851-1900’, 1995, La 1880-1881, Mason, Firth & McCutcheon, Melbourne, Trobe Library Journal, 14, no. 56, Spring (whole issue). Royal Commission for the Melbourne Centennial 1882. International Exhibition of 1888, Report, London, 1890. Watkin, D and Mellinghoff, T 1987, German Architecture Official Record of the Tasmanian International Exhibition, and the Classical Ideal 1740-1840, Thames and Hudson, Saunders, D 1976, ‘Joseph Reed’, entry in the Australian 1891-92, Launceston, 1892, p.17 London. Dictionary of Biography, Volume 6, Melbourne University Oxford Companion to Gardens, 1986, Consultant eds Press, pp. 13-14. Whitehead, G 1991, ‘Carlton’s Famous Gardens’, Trust Sir G. Jellicoe, S. Jellicoe, executive eds, P. Goode, M. News, March. Schezen, R and Haiko, P 1992, Vienna 1850-1930, Lancaster, Oxford University Press, Oxford. Architecture, Rizzoli, New York. Whitehead, G 1997, Civilising the City: a History of Parris, JR 1955, ‘The Melbourne Exhibition 1880-81’ BA Melbourne’s Public Gardens, State Library of Victoria, (Hons) Thesis, University of Melbourne. Melbourne.

67 Whitehead, G 2002, ‘Carlton Gardens’, in R. Aitken and National Trust of Australia (Victoria): 7D ADDRESSES WHERE INVENTORY, M. Looker (eds), Oxford Companion to Australian • Gardens file RECORDS AND ARCHIVES ARE Gardens, Oxford University Press, Melbourne. • Buildings file HELD Willingham, A 1983, The Royal Exhibition Building 1. Royal Exhibition Building, Melbourne. Carlton, Conservation Analysis. Internet Sources: Archives World Heritage Expert Panel 1997, World Heritage Report: http://www.earthstation9.com/index.html?worlds_2.htm CEO record of the World Heritage Expert Panel meeting, The Worlds Fair and Exposition Information and Reference Museum Victoria Western Australia, New South Wales and Queensland, Guide. [Accessed 14 November 2002] 11 Nicholson Street State/Commonwealth Regional Forest Agreement Process, http://www.historic-scotland.gov.uk/index/ Carlton, Victoria 3053 Department of the Environment, Canberra. wwd_whatwedo/wwd_oubuiltheritage/ Telephone: 03 8341 7110 E-mail:[email protected] World’s Fair 1988, Fall edn, Corte Madera, Calif. wwd_listedbuildings/wwd_listedbuildings-categories.htm Historic Scotland, Listing Categories, July 2002 [Accessed ‘World’s Fairs in Australasia’ 1879, Manufacturer and 14 November 2002] 2. Heritage Victoria Builder, 11, no. 4, April, p. 80. Executive Director www.theo.tu-cottbus.de/Wolke/eng/Bibliography/ Heritage Victoria Wright, R. 1989, The Bureaucrats’ Domain: Space and ExpoBibliography.htm [Accessed 14 November 2002] the Public Interest in Victoria 1836-84, Oxford University GPO 2797Y, Press, Melbourne. http://www.lib.csufresno.edu/SubjectResources/ Melbourne, Victoria 3001 SpecialCollections/WorldFairs/Secondarybiblio.pdf Telephone:03 9655 6519 Zimmerman, L 1974, ‘World of Fairs, 1851-1976’. [accessed 14 November 2002] E-Mail:[email protected] Progressive Architecture, 55, no. 8, August, pp. 64-73. Internet: www.heritage.vic.gov.au http://www.rcahms.gov.uk/canmore/ details_gis?inumlink=139413 Historic Scotland, RCAHMS Other relevant material: 3. National Trust of Australia (Victoria) research results, July 2002. [Accessed 14 November 2002] Royal Exhibition Building, Melbourne, Archives: CEO http://www.statelibrary.vic.gov.au/slv/latrobe/exbuild.htm • Photographic Collection Tasma Terrace The Melbourne Exhibition Building: a Select Bibliography. 4 Parliament Place • Plans and Illustrations [Accessed 14 November 2002] East Melbourne, Victoria 3002 •Various framed drawings www.worldsfairs.com/expos.html. 22 July 2002 World’s Telephone: 03 9656 9800 • The Volunteers Collection Fairs Expos Q & A [Accessed 14 November 2002] E-mail [email protected]

Heritage Victoria: http://www.mairie-paris.fr/fr/la_mairie/executif/ 4. Melbourne University Archives communiques/ancienne_mandature/ Archives and Special Collections Reading Room • Royal Exhibition Building File mandature_1995_2001/petitpalais.htm [Accessed 14 Third Floor, Baillieu Library • Carlton Gardens File November 2002] The University of Melbourne • Loch Ard Shipwreck File http://www.bie-paris.org/ Parkville Victoria 3010 Telephone: 03 8344 9893 (Reference Archivist) • Erik the Red Shipwreck File Telephone: 03 8344 6848 (General) Melbourne University Archives: Facsimile: 03 9347 8627 E-Mail: [email protected] • Reed and Barnes drawings

68 CHAPTER 8 SIGNATURE ON BEHALF OF THE STATE PARTY

The Hon Dr David Kemp MP Minister for the Environment and Heritage Commonwealth of Australia December 2002

69 APPENDICES

APPENDIX 1 YEAR VENUE EVENT International Exhibitions, 1851-1915 1880–81 Melbourne, International Exhibition of Arts, Australia Manufactures and Agricultural and (Sources: Findling and Pelle 1990; Allwood 1977; Henry Insdustrial Products of all Nations Madden Library, California State University world’s fairs collection web page: 1881 Atlanta, USA International Cotton Exposition 1882 Buenos Aires, Exposición Continental http://lib.csufresno.edu/subjectresources/specialcollections/ Argentina* Sud-Americana worldfairs/welcome.html) 1882 Christchurch, International Exhibition New Zealand*

YEAR VENUE EVENT 1883 Amsterdam, Internationale, Koloniale en Holland Uitvoerhandel-Tentoonstelling 1851 London (Crystal The Great Exhibition of the Works Palace), England of Industry of all Nations 1883 Louisville, USA* Southern Exposition 1853 Dublin, Ireland The Great Industrial Exhibition 1883–84 Boston, USA American Exhibition of the Products, Arts, and Manufactures of Foreign 1853–54 New York, USA World’s Fair of the works of Industry Nations of all Nations 1883–84 Calcutta, India International Exhibition 1855 Paris, France Exposition Universelle des Produits de l’Agriculture, de l’Industrie et des 1884-85 New Orleans, World’s Industrial and Cotton Beaux-Arts USA* Centennial Exhibition 1862 London, England London International Exhibition on 1885 Antwerp, Belgium Exposition Universelle Industry and Art 1886 Edinburgh, International Exhibition of Industry, 1865 Dublin, Ireland International Exhibition Scotland Science and Art 1865–66 Porto, Portugal* Exposition Internationale 1886 London, England Colonial and Indian Exhibition 1867 Paris, France Exposition Universelle 1887 Adelaide, Australia Jubilee International Exhibition 1871–74 London, England London Annual International 1888 Barcelona, Spain Expocisio Universal de Barcelona Exhibitions 1888 Brussels, Belgium Grand Concours International des Sciences et de l’Industrie 1873 Vienna, Austria Welt-Ausstellung 1888 Glasgow, Scotland Glasgow International Exhibition 1888 1875–76 Santiago, Chile Exposición International 1888–89 Melbourne, Centennial International Exhibition Royal Exhibition Building and Carlton Gardens, 1876 Philadelphia, USA Centennial Exhibition October 2002, looking NW. Australia 1877 Cape Town, South African International Exhibition 1889 Paris, France Exposition Universelle South Africa 1889–90 Dunedin, International Exhibition 1878 Paris, France Exposition Universelle New Zealand* 1879–80 Sydney, Australia International Exhibition 1890 Edinburgh, International Exhibition Scotland*

70 YEAR VENUE EVENT YEAR VENUE EVENT 1891 Kingston, Jamaica International Exhibition 1902–03 Tonkin (Hanoi), Indo China Exposition Francaise Indo-China et Internationale 1891–92 Launceston, Tasmania International Exhibition (Vietnam) Australia 1893 Chicago, USA World’s Columbian Exposition 1902 Turin, Italy Esposizione Internazionale d’Arte Decorativa Moderna 1893 Kimberley, South Africa and International South Africa Exhibition 1904 St Louis, USA Louisiana Purchase International Exhibition 1894 Antwerp, Belgium Exposition Internationale 1905 Portland, USA Lewis & Clark Centennial Exposition 1894 San Francisco, California Midwinter International USA Exposition 1905 Liege, Belgium Exposition universelle et internationale 1894 Lyon, France* Exposition Internationale et Coloniale 1906 Milan, Italy Esposizione internazionale del Sempione 1894–95 Hobart, Australia Tasmania International Exhibition 1906–07 Christchurch, International Exhibition 1895 Amsterdam, International Exhibition New Zealand Holland* 1907 Jamestown, USA Jamestown Tercentennial Exhibition 1895 Atlanta, USA Cotton States and International Exposition 1907 Dublin, Ireland Irish International Exhibition 1896 Budapest, Exposition Internationale du Millénaire 1909 Seattle, USA Alaska-Yukon Pacific Exposition Hungary* 1910 Brussels, Belgium Brussels International 1897 Brisbane, Queensland International Exhibition 1911 Turin, Italy Esposizione internazionale Queensland 1913 Ghent, Belgium Exposition universelle et internationale 1897 Brussels, Belgium Exposition Internationale de Bruxelles 1915 San Francisco, USA Panama-Pacific International 1897 Guatemala City, Exposicion Centro Americana Exposition Guatemala 1915 San Diego, USA Panama-California Exposition 1897 Nashville, USA Tennessee Centenial and International Exposition * Inconclusive status as an international exhibition due to narrow 1897 Stockholm, All Manna Konst-och focus or uncertain level of foreign representation. Sweden Industriutstallningen 1898 Omaha, USA* Trans-Mississippi Exhibition 1900 Paris, France Exposition Universelle et Internationale 1901 Buffalo, USA Pan-American Exposition 1901 Glasgow, Scotland Glasgow International Exhibition

71 APPENDIX 2 • Guidelines to the Burra Charter: Cultural Significance; The Burra Charter • Guidelines to the Burra Charter: Conservation Policy; (The Australia ICOMOS Charter for Places of Cultural • Guidelines to the Burra Charter: Procedures for Significance) Undertaking Studies and Reports;

Preamble • Code on the Ethics of Coexistence in Conserving Significant Places. Considering the International Charter for the Conservation and Restoration of Monuments and Sites (Venice 1964), What places does the Charter apply to? and the Resolutions of the 5th General Assembly of the The Charter can be applied to all types of places of International Council on Monuments and Sites (ICOMOS) cultural significance including natural, indigenous and (Moscow 1978), the Burra Charter was adopted by historic places with cultural values. Australia ICOMOS (the Australian National Committee of ICOMOS) on 19 August 1979 at Burra, South Australia. The standards of other organisations may also be relevant. Revisions were adopted on 23 February 1981, 23 April These include the Australian Natural Heritage Charter and 1988 and 26 November 1999. the Draft Guidelines for the Protection, Management and Use of Aboriginal and Torres Strait Islander Cultural The Burra Charter provides guidance for the conservation Heritage Places. and management of places of cultural significance (cultural heritage places), and is based on the knowledge Why conserve? and experience of Australia ICOMOS members. Places of cultural significance enrich people’s lives, often Conservation is an integral part of the management of providing a deep and inspirational sense of connection places of cultural significance and is an ongoing to community and landscape, to the past and to lived responsibility. experiences. They are historical records, that are important as tangible expressions of Australian identity and Who is the Charter for? experience. Places of cultural significance reflect the The Charter sets a standard of practice for those who diversity of our communities, telling us about who we provide advice, make decisions about, or undertake works are and the past that has formed us and the Australian to places of cultural significance, including owners, landscape. They are irreplaceable and precious. managers and custodians. These places of cultural significance must be Using the Charter conserved for present and future generations. The Charter should be read as a whole. Many articles are The Burra Charter advocates a cautious interdependent. Articles in the Conservation Principles approach to change: do as much as necessary section are often further developed in the Conservation to care for the place and to make it useable, Processes and Conservation Practice sections. Headings but otherwise change it as little as possible so have been included for ease of reading but do not form that its cultural significance is retained. part of the Charter. The Charter is self-contained, but aspects of its use and application are further explained in the following Australia ICOMOS documents:

72 Articles Explanatory Notes Article 1. Definitions For the purposes of this Charter: The concept of place should be broadly interpreted. The elements described in Article 1.1 may include memorials, trees, gardens, parks, 1.1 Place means site, area, land, landscape, building or other work, group of buildings or other works, and may places of historical events, urban areas, towns, industrial places, include components, contents, spaces and views. archaeological sites and spiritual and religious places. 1.2 Cultural significance means aesthetic, historic, scientific, social or spiritual value for past, present The term cultural significance is synonymous with heritage or future generations. significance and cultural heritage value. Cultural significance may change as a result of the continuing history Cultural significance is embodied in the place itself, its fabric, setting, use, associations, meanings, records, related of the place. places and related objects. Understanding of cultural significance may change as a result of new information. Places may have a range of values for different individuals or groups. 1.3 Fabric means all the physical material of the place including components, fixtures, contents, and objects. Fabric includes building interiors and sub-surface remains, as well as excavated material. 1.4 Conservation means all the processes of looking after a place so as to retain its cultural significance. Fabric may define spaces and these may be important elements of the significance of the place.

1.5 Maintenance means the continuous protective care of the fabric and setting of a place, and is to be distinguished The distinctions referred to, for example in relation to roof gutters, are: from repair. Repair involves restoration or reconstruction. • maintenance — regular inspection and cleaning of gutters; •repair involving restoration — returning of dislodged gutters; •repair involving reconstruction — replacing decayed gutters.

1.6 Preservation means maintaining the fabric of a place in its existing state and retarding deterioration. It is recognised that all places and their components change over time at varying rates. 1.7 Restoration means returning the existing fabric of a place to a known earlier state by removing accretions or by reassembling existing components without the introduction of new material. 1.8 Reconstruction means returning a place to a known earlier state and is distinguished from restoration by the New material may include recycled material salvaged from other introduction of new material into the fabric. places. This should not be to the detriment of any place of cultural significance. 1.9 Adaptation means modifying a place to suit the existing use or a proposed use. 1.10 Use means the functions of a place, as well as the activities and practices that may occur at the place. 1.11 Compatible use means a use which respects the cultural significance of a place. Such a use involves no, or minimal, impact on cultural significance. 1.12 Setting means the area around a place, which may include the visual catchment. 1.13 Related place means a place that contributes to the cultural significance of another place.

73 1.14 Related object means an object that contributes to the cultural significance of a place but is not at the place. 1.15 Associations mean the special connections that exist between people and a place. Associations may include social or spiritual values and cultural responsibilities for a place.

1.16 Meanings denote what a place signifies, indicates, evokes or expresses. Meanings generally relate to intangible aspects such as symbolic qualities and memories.

1.17 Interpretation means all the ways of presenting the cultural significance of a place. Interpretation may be a combination of the treatment of the fabric (e.g. maintenance, restoration, reconstruction); the use of and activities at the place; and the use of introduced explanatory material. Conservation Principles Article 2. Conservation and management 2.1 Places of cultural significance should be conserved. 2.2 The aim of conservation is to retain the cultural significance of a place. 2.3 Conservation is an integral part of good management of places of cultural significance. 2.4 Places of cultural significance should be safeguarded and not put at risk or left in a vulnerable state.

Article 3. Cautious approach 3.1 Conservation is based on a respect for the existing fabric, use, associations and meanings. It requires The traces of additions, alterations and earlier treatments to the a cautious approach of changing as much as necessary but as little as possible. fabric of a place are evidence of its history and uses which may be part of its significance. Conservation action should assist and not 3.2 Changes to a place should not distort the physical or other evidence it provides, nor be based on conjecture. impede their understanding.

Article 4. Knowledge, skills and techniques 4.1 Conservation should make use of all the knowledge, skills and disciplines which can contribute to the study and care of the place. 4.2 Traditional techniques and materials are preferred for the conservation of significant fabric. In some circumstances The use of modern materials and techniques must be supported by modern techniques and materials which offer substantial conservation benefits may be appropriate. firm scientific evidence or by a body of experience.

Article 5. Values 5.1 Conservation of a place should identify and take into consideration all aspects of cultural and natural significance Conservation of places with natural significance is explained in the without unwarranted emphasis on any one value at the expense of others. Australian Natural Heritage Charter. This Charter defines natural significance to mean the importance of ecosystems, biological diversity and geodiversity for their existence value, or for present or future generations in terms of their scientific, social, aesthetic and life-support value.

5.2 Relative degrees of cultural significance may lead to different conservation actions at a place. A cautious approach is needed, as understanding of cultural significance may change. This article should not be used to justify actions which do not retain cultural significance.

74 Article 6. Burra Charter Process 6.1 The cultural significance of a place and other issues affecting its future are best understood by a sequence of The Burra Charter process, or sequence of investigations, decisions collecting and analysing information before making decisions. Understanding cultural significance comes first, and actions, is illustrated in the accompanying flowchart. then development of policy and finally management of the place in accordance with the policy. 6.2 The policy for managing a place must be based on an understanding of its cultural significance. 6.3 Policy development should also include consideration of other factors affecting the future of a place such as the owner’s needs, resources, external constraints and its physical condition.

Article 7. Use 7.1 Where the use of a place is of cultural significance it should be retained. 7.2 A place should have a compatible use. The policy should identify a use or combination of uses or constraints on uses that retain the cultural significance of the place. New use of a place should involve minimal change, to significant fabric and use; should respect associations and meanings; and where appropriate should provide for continuation of practices which contribute to the cultural significance of the place. Article 8. Setting Conservation requires the retention of an appropriate visual setting and other relationships that contribute to the cultural Aspects of the visual setting may include use, siting, bulk, form, significance of the place. scale, character, colour, texture and materials. Other relationships, such as historical connections, may contribute to New construction, demolition, intrusions or other changes which would adversely affect the setting or relationships are interpretation, appreciation, enjoyment or experience of the place. not appropriate.

Article 9. Location 9.1 The physical location of a place is part of its cultural significance. A building, work or other component of a place should remain in its historical location. Relocation is generally unacceptable unless this is the sole practical means of ensuring its survival. 9.2 Some buildings, works or other components of places were designed to be readily removable or already have a history of relocation. Provided such buildings, works or other components do not have significant links with their present location, removal may be appropriate. 9.3 If any building, work or other component is moved, it should be moved to an appropriate location and given an appropriate use. Such action should not be to the detriment of any place of cultural significance.

Article 10. Contents Contents, fixtures and objects which contribute to the cultural significance of a place should be retained at that place. Their removal is unacceptable unless it is: the sole means of ensuring their security and preservation; on a temporary basis for treatment or exhibition; for cultural reasons; for health and safety; or to protect the place. Such contents, fixtures and objects should be returned where circumstances permit and it is culturally appropriate.

75 Article 11. Related places and objects The contribution which related places and related objects make to the cultural significance of the place should be retained.

Article 12. Participation Conservation, interpretation and management of a place should provide for the participation of people for whom the place has special associations and meanings, or who have social, spiritual or other cultural responsibilities for the place.

Article 13. Co-existence of cultural values Co-existence of cultural values should be recognised, respected and encouraged, especially in cases where they conflict. For some places, conflicting cultural values may affect policy development and management decisions. In this article, the term cultural values refers to those beliefs which are important to a cultural group, including but not limited to political, religious, spiritual and moral beliefs. This is broader than values associated with cultural Conservation Processes significance. Article 14. Conservation processes Conservation may, according to circumstance, include the processes of: retention or reintroduction of a use; retention of There may be circumstances where no action is required to associations and meanings; maintenance, preservation, restoration, reconstruction, adaptation and interpretation; and achieve conservation. will commonly include a combination of more than one of these.

Article 15. Change 15.1 Change may be necessary to retain cultural significance, but is undesirable where it reduces cultural significance. When change is being considered, a range of options should be The amount of change to a place should be guided by the cultural significance of the place and its appropriate explored to seek the option which minimises the reduction of cultural significance. interpretation. 15.2 Changes which reduce cultural significance should be reversible, and be reversed when circumstances permit. Reversible changes should be considered temporary. Non-reversible change should only be used as a last resort and should not prevent future conservation action. 15.3 Demolition of significant fabric of a place is generally not acceptable. However, in some cases minor demolition may be appropriate as part of conservation. Removed significant fabric should be reinstated when circumstances permit. 15.4 The contributions of all aspects of cultural significance of a place should be respected. If a place includes fabric, uses, associations or meanings of different periods, or different aspects of cultural significance, emphasising or interpreting one period or aspect at the expense of another can only be justified when what is left out, removed or diminished is of slight cultural significance and that which is emphasised or interpreted is of much greater cultural significance.

Article 16. Maintenance Maintenance is fundamental to conservation and should be undertaken where fabric is of cultural significance and its maintenance is necessary to retain that cultural significance.

76 Article 17. Preservation Preservation is appropriate where the existing fabric or its condition constitutes evidence of cultural significance, or Preservation protects fabric without obscuring the evidence of its where insufficient evidence is available to allow other conservation processes to be carried out. construction and use. The process should always be applied: • where the evidence of the fabric is of such significance that it should not be altered; • where insufficient investigation has been carried out to permit policy decisions to be taken in accord with Articles 26 to 28. New work (e.g. stabilisation) may be carried out in association with preservation when its purpose is the physical protection of the fabric and when it is consistent with Article 22. Article 18. Restoration and reconstruction Restoration and reconstruction should reveal culturally significant aspects of the place.

Article 19. Restoration Restoration is appropriate only if there is sufficient evidence of an earlier state of the fabric.

Article 20. Reconstruction 20.1 Reconstruction is appropriate only where a place is incomplete through damage or alteration, and only where there is sufficient evidence to reproduce an earlier state of the fabric. In rare cases, reconstruction may also be appropriate as part of a use or practice that retains the cultural significance of the place. 20.2 Reconstruction should be identifiable on close inspection or through additional interpretation.

Article 21. Adaptation 21.1 Adaptation is acceptable only where the adaptation has minimal impact on the cultural significance of the place. Adaptation may involve the introduction of new services, or a new use, or changes to safeguard the place. 21.2 Adaptation should involve minimal change to significant fabric, achieved only after considering alternatives.

Article 22. New work 22.1 New work such as additions to the place may be acceptable where it does not distort or obscure the cultural New work may be sympathetic if its siting, bulk, form, scale, significance of the place, or detract from its interpretation and appreciation. character, colour, texture and material are similar to the existing fabric, but imitation should be avoided. 22.2 New work should be readily identifiable as such.

Article 23. Conserving use Continuing, modifying or reinstating a significant use may be appropriate and preferred forms of conservation. These may require changes to significant fabric but they should be minimised. In some cases, continuing a significant use or practice may involve substantial new work. Article 24. Retaining associations and meanings 24.1 Significant associations between people and a place should be respected, retained and not obscured. For many places associations will be linked to use. Opportunities for the interpretation, commemoration and celebration of these associations should be investigated and implemented. 24.2 Significant meanings, including spiritual values, of a place should be respected. Opportunities for the continuation or revival of these meanings should be investigated and implemented.

77 Article 25. Interpretation The cultural significance of many places is not readily apparent, and should be explained by interpretation. Interpretation should enhance understanding and enjoyment, and be culturally appropriate.

Conservation Practice Article 26. Applying the Burra Charter process 26.1 Work on a place should be preceded by studies to understand the place which should include analysis of physical, The results of studies should be up to date, regularly reviewed and documentary, oral and other evidence, drawing on appropriate knowledge, skills and disciplines. revised as necessary. 26.2 Written statements of cultural significance and policy for the place should be prepared, justified and accompanied Statements of significance and policy should be kept up to date by by supporting evidence. The statements of significance and policy should be incorporated into a management regular review and revision as necessary. The management plan may deal with other matters related to the management of the place. plan for the place. 26.3 Groups and individuals with associations with a place as well as those involved in its management should be provided with opportunities to contribute to and participate in understanding the cultural significance of the place. Where appropriate they should also have opportunities to participate in its conservation and management.

Article 27. Managing change 27.1 The impact of proposed changes on the cultural significance of a place should be analysed with reference to the statement of significance and the policy for managing the place. It may be necessary to modify proposed changes following analysis to better retain cultural significance. 27.2 Existing fabric, use, associations and meanings should be adequately recorded before any changes are made to the place.

Article 28. Disturbance of fabric 28.1 Disturbance of significant fabric for study, or to obtain evidence, should be minimised. Study of a place by any disturbance of the fabric, including archaeological excavation, should only be undertaken to provide data essential for decisions on the conservation of the place, or to obtain important evidence about to be lost or made inaccessible. 28.2 Investigation of a place which requires disturbance of the fabric, apart from that necessary to make decisions, may be appropriate provided that it is consistent with the policy for the place. Such investigation should be based on important research questions which have potential to substantially add to knowledge, which cannot be answered in other ways and which minimises disturbance of significant fabric.

Article 29. Responsibility for decisions The organisations and individuals responsible for management decisions should be named and specific responsibility taken for each such decision.

Article 30. Direction, supervision and implementation Competent direction and supervision should be maintained at all stages, and any changes should be implemented by people with appropriate knowledge and skills.

78 Article 31. Documenting evidence and decisions A log of new evidence and additional decisions should be kept.

Article 32. Records 32.1 The records associated with the conservation of a place should be placed in a permanent archive and made publicly available, subject to requirements of security and privacy, and where this is culturally appropriate. 32.2 Records about the history of a place should be protected and made publicly available, subject to requirements of security and privacy, and where this is culturally appropriate.

Article 33. Removed fabric Significant fabric which has been removed from a place including contents, fixtures and objects, should be catalogued, and protected in accordance with its cultural significance.

Where possible and culturally appropriate, removed significant fabric including contents, fixtures and objects, should be kept at the place. Article 34. Resources Adequate resources should be provided for conservation. The best conservation often involves the least work and can be inexpensive. Words in italics are defined in Article 1.

79 The Burra Charter Process APPENDIX 3 of which was ‘to draw all the families of the civilised Sequence of investigations, decisions and actions world together in bonds of amity, for their mutual benefit The History of International Exhibitions and enlightenment’. For contemporaries there was as by Lord Asa Briggs much ‘romance’ in the objects as in the building. IDENTIFY PLACE AND ASSOCIATIONS Secure the place and make it safe (Manuscript commissioned by the Commonwealth Department of As contemporaries grew older, many of them looked back the Environment and Heritage, 2002) to the Great Exhibition both as a formative experience for them and as a turning point in human history, ‘casting all GATHER AND RECORD INFORMATION ay be necessary ABOUT THE PLACE 1. The beginnings of a sequence its predecessors into the shade’. This was because of SUFFICIENT TO UNDERSTAND SIGNIFICANCE There were many international exhibitions (or expositions) what Prince Albert, inspirer of the 1851 Exhibition, called Documentary Oral Physical between 1851 and 1900, each with its own identity, all ‘the peculiar features of our present era’. It was ‘a period with features in common. They were landmark events in of most wonderful transition which tends rapidly to ASSESS SIGNIFICANCE history both for countries and for families. Yet they were accomplish that great end, to which, indeed, all history far more than events. With many links between them, points-the realisation of the unit of mankind’. nderstand Significance they stand out in retrospect as part of a significant PREPARE A STATEMENT OF SIGNIFICANCE In the title of the 1851 Exhibition there was a specific economic, social and cultural process. It is possible to reference to ‘industry’: the Exhibition was to display ‘the identify an ‘exhibition era’, the time-unit usually applied industry of all nations’. The word ‘industry’ was a human IDENTIFY OBLIGATIONS ARISING FROM to it. The adjective ‘international’, always given emphasis, quality, not only a (later term) a sector of the economy. SIGNIFICANCE helps to define it. The exhibitions set out to chart visually The term ‘industrial revolution’ was not then in general ‘material and moral progress’ within a world context. use, but contemporaries were well aware that with the GATHER INFORMATION ABOUT OTHER The idea of holding exhibitions of objects had its origins advent of steam power, which was being applied by then FACTORS AFFECTING THE FUTURE in eighteenth-century Europe, but the Great Exhibition of to locomotion as well as to production, the world had OF THE PLACE 1851, held in an exciting new building, described by a changed irrevocably. Machines were there to stay, but Owner/manager’s needs and resources External factors Physical condition journalist as the Crystal Palace, a name that has survived, as old machines became obsolescent, new ones, is usually taken as the first event in an international incorporating invention, would take their place. sequence. The cast iron and glass structure, transported Both exhibition organisers and governments in the DEVELOP POLICY after the Exhibition from central London to the southern foreground-or more often in the background-were Identify options suburbs and destroyed in a spectacular fire in 1936, was Consider options and test their impact enthusiastic in displaying machines and in encouraging on significance described in The Times in 1851 as an ‘Arabian Nights invention. The organisers of the 1851 Exhibition and of structure, full of light’, which seemed to belong more to all later ones, wherever they were subsequently located- an ‘enchanted land’ than to ‘this gross material world of outside as well as inside Europe-saw it as their mission PREPARE A STATEMENT OF POLICY ours’. Yet the objects collected inside the building and visually to register unprecedented change. For them carefully classified, as they were to be in all subsequent change meant progress, often spelt with a capital P. international exhibitions, represented in retrospect what MANAGE PLACE IN ACCORDANCE anthropologists and historians came to call ‘material The language of 1851 had a religious more than a WITH POLICY Develop strategies culture’ or in this case and in most later cases material scientific flavour in new modes of work-the Crystal Palace Implement strategies through cultures. building. Scriptural texts and classical symbols went a management plan together. ‘The earth is the Lord’s and the fullness thereof.’ Record place prior to any change There were old and new things-silks and shawls from It was the particular message of 1851 not only to honour India, a reaping machine and a sewing machine from the work, including new modes of work-the building itself

Manage Develop Policy U Develop Policy Manage American Republic. Differences in origins were noted in took only six months to erect because of what later

MONITOR AND REVIEW and consultation m Further research is iterative. Parts of it may need to be repeated. The whole process the multitude of publications, official and unofficial, became known as ‘standardisation’ and ‘prefabrication’- relating to the Exhibition, one of the avowed objectives but to proclaim a gospel of peace. The name of Joseph

80 Paxton, who produced the design for the Crystal Palace, which made the most of comparative lengths and heights genuinely inter-disciplinary and he eventually designed lent itself to play on the three letters ‘Pax’ in his surname. and, above all, numbers of visitors. When the American exhibitions of his own. In an earlier piece of writing on Paxton vobiscum. Paxton was a self-made man, not an entrepreneur of circus entertainment, P T Barnum, known exhibitions which appeared in Edinburgh in 1887 he had architect but a gardener, who had risen in life to become throughout the world, was asked by the organisers of the discerned ‘the progress of well being’ as the most a railway director. There was abundant symbolism in his great Chicago Columbian Exhibition to give advice in important dimension of Progress, and in 1900 he claimed own life. His sketch of the Crystal Palace was produced 1893, he replied ‘Make it bigger and better than any that that Paris, 1900, offered the greatest opportunity that the on a piece of blotting paper. have preceded it. Make it the greatest show on earth’. working world had ever seen of combining business with pleasure, of having the ‘very best of market-days and At this early point in the history of international The official and non-official catalogues of the objects on holidays in one’. ‘For what is better for a man’, Geddes exhibitions values were stressed more than ideas. display at all international exhibitions, along with the lists asked in conclusion, ‘than that he should enjoy the goal Emphasis was placed above all on work, on ingenuity, of awards exhibitors received, continued-and continue-to of all his labour.’ The French President, living in a ‘city of on innovation, and on wedding ‘science’, particularly receive public attention long after the great show was pleasure’ looked to the future rather than the present or ‘practical science’, with ‘art’. As the American Minister in over. They are far more than collectors’ items. They are the past, declaring, as Prince Albert might have done, that London put it a transatlantic message, the materials on witness to a unique period in history, which was truly ‘soon, perhaps, we shall have completed an important display in the Crystal Palace would present ‘such a transitional. They reveal the curious and the serious. stage in the slow evolution of work towards happiness combination of Science and Art as will gratify the highest The sense of Progress was usually directly associated with and of man towards humanity’. In retrospect, the anticipation of that class of men who have been and will industrialisation. There was a sense of ‘brotherhood’ too. ‘perhaps’, which would not have intruded into such continue to be the creators of wealth, and through their The children of the long separated ‘sons of Adam’ were at a statement by Prince Albert, now stands out. inventions and labours the civilisers of mankind last gathered together. throughout the world’. Between the Great Exhibition of 1851 and the Paris The sequence continues Exposition of 1900 there had been at least 39 exhibitions, There would be no difficulty in assembling an impressive In 1900 a great world exposition was held in Paris, the calling themselves ‘international’ that brought out the anthology of such messages, some in verse, some capital city of France where a national exhibition of continuity in the exhibition sequence, among them three conveyed through music. The British novelist W P industrial products had been staged as early as 1798. seeking explicitly to relate a great date in the national past Thackeray, who delighted in the music, chose verse. This was the great climax of the exhibition era, summing to the world future. The first, the American Centennial Referring to the objects on display, ‘the trophies of a up as it did the technical and social achievements of a Exposition of 1876, was held in Philadelphia where the bloodless war’, he was impressed by their range as well ‘wonderful century’, one of which, already present in Declaration of Independence had been signed a hundred as by their number, over 100 000 of them: 1851, was the electric telegraph, the other electric power, years before. The second, the Paris Exposition of 1889, ‘Harvest-tool and husbandry, then barely applied. Yet there was continuity as well as drew contrasts between the 1889 and 1789, the year of Loom and wheel and engineering, contrast in 1900. The pioneering Scots sociologist Patrick the fall of the Bastille and the beginnings of the French Secrets of the sullen mine, Geddes, a biologist and botanist by training, who wrote a Revolution, a political and constitutional revolution with a Steel and gold, and corn and wine ... magazine article on the Exposition in the Contemporary strong social and economic dimension and a culture of its All of beauty, all of use Review expressing the view that international exhibitions own. The third, the World’s Columbian Exhibition was That our fair planet can produce.’ not only strengthened ‘existing economic connections’ but staged in Chicago in 1893, and there were more objects ‘encouraged further improvements’, found it appropriate on display there than there had been in Philadelphia. Not everyone agreed about the beauty of the to employ similar language to that used in 1851. The manufactured objects. Exhibitions always generated In what was an entirely new nineteenth-century city there idea of a ‘World’s Fair’, an older term than ‘Exhibition’, he controversy, some of it productive when it referred to was ample reference backwards as well as forwards, as stated, was ‘fresh and fascinating’. After the appearance design. Not everyone believed in Progress when it was there was at most of the international exhibitions of the of so many marvellous mechanical devices in the decades identified with industrialisation. nineteenth-century, a century when contemporaries were since 1851 the new Exposition-the word always used in anxious to place themselves in human history. The large The disagreements are as interesting-and as revealing-in France-was devised to bring them all together. exhibition spaces were laid out to make visitors feel that the long record of human history as the expressions of Geddes was something of a specialist on exhibitions as he they were present in ‘the age of Pericles’. The ‘Palace of consensus or the proudly publicised statistics of scale, was on cities, although his approach to both was Fine Arts’, an exhibition feature not present in 1851, but

81 present in most subsequent exhibitions, beginning with The Eiffel Tower contained no objects, factory-made or combustion on a soundly competitive footing with steam Paris in 1855, was described as ‘the greatest achievement otherwise, but from a travelling platform, also devised by power. It was on display in Paris in 1878. since the Parthenon’. Eiffel, it was possible to see all the ‘transformed things’ The social consequences of internal combustion were to in a ‘Machine Hall’. Within it voices and music could be The word ‘Palace’ persisted throughout the Exhibition era. become apparent only in the twentieth-century ‘age of heard too through a telephone and a phonograph, New York had its own Crystal Palace in 1853. Paris had the automobile’, a different era from that of the newest of nineteenth-century things, while electricity lit its Palace of Industry in the 1855 Exposition when the international exhibition. So, too, were the social up the fountains at the Champs de Mars, creating almost British government, which had provided no public money consequences of new communications devices that as much of a sensation, this time with little controversy, for the 1851 Exhibition, spent £50 000 to support a were to culminate in broadcasting, radio and television. as the Tower itself. At the beginning and end of each British section inside it. There was a touch of luxury in There were to be continuities both in rhetoric and in exposition day a cannon shot was fired from Eiffel’s all the Paris expositions of the nineteenth century which music after 1900, but the musical metaphors of 1876 apartment. constituted a sequence within a sequence. Within it Paris, did not survive the exhibition era. At Philadelphia 1878, was somewhat exceptional. The government There had been a unique feature too, a huge Ferris music coming from a giant organ inspired a foreign planned it to demonstrate the recovery of France after wheel, at a great Vienna exhibition in 1873, set out in a commissioner to exclaim that the exhibits in the fifteen the disasters of the Franco-Prussian War in 1870-1, and landscaped park, the Prater, a wooded area beside the national exhibition halls ‘harmonised like movements of it lost money. Danube, where a rotunda and dome had been designed a mighty fugue in which every voice intones the melody by John Scott Russell, Secretary to Britain’s Royal anew’. The orchestra was ‘an industrial orchestra’. By then international exhibitions, however financed Commissioners of 1851, and Francis Philip Cunliffe-Owen, ‘Never before (had) total effect been achieved so and however financially successful or unsuccessful, had who succeeded Sir Henry Cole, mentioned more perfectly.’ Once again Paris 1900 provided the climax. acquired a cluster of features. Building-or buildings-were fully below, as secretary of Britain’s Science and Art One of a series of sculptures on display there bore the set in planned spaces. Sites mattered, and they might Department, a legacy of the Great Exhibition. Scott memorable words ‘Harmony destroying Discord’. include gardens. There were exhibition complexes as well Russell’s elaborately decorated cast iron dome was 270 as individual buildings. They had their own iconography, Rhetoric, like music, was never in short supply at feet high and 320 feet across. The main building had a part of history-domes, viewing platforms, national nineteenth-century international exhibitions. Words, a nave almost half-a-mile long, with the transepts, pavilions. There was no standard pattern, but the wafted from one exhibition to another, were as plentiful architectural terms borrowed significantly from cathedrals. organisers of any exhibition learned from the iconography as objects or images. Yet unadorned facts have always The objects on display were set out geographically in of previous ones. to be taken into account in the international exhibition accordance with a map of the world as shown on process. So, too, even in 1851, do photographs. A unique feature of Paris 1889, which still survives, was Mercator’s projection. There was great ingenuity behind Thus, there was a Photography Hall at Philadelphia, the Eiffel Tower, designed by Gaston Eiffel who had also all this, but the Vienna Exhibition, planned to celebrate regularly visited by George Eastman, photographic designed the 1867 exhibition, laid out on a grid pattern, the jubilee of the Emperor, Francis Joseph, lost money. entrepreneur who transformed the place of photography each nation having a wedge of the ellipse in an elliptical The Centennial Exhibition in Philadelphia of 1876 was set in daily life. The cinema was to continue the story. iron and glass building devised by Frédéric Le Play, an in 236 acres of parkland. There were 14 000 exhibitors, A Japanese presence at Philadelphia was recognised as encyclopaedist of human behaviour. The Eiffel Tower was and the most spectacular exhibit was a great Corliss steam more than symbolic: their building was pre-fabricated. more controversial inside Paris itself than any feature in engine with a 56-ton flywheel which revolved without At Paris in 1867 it had been Japanese art which had been the British exhibition of 1862 which followed on in the noise: the twenty steam boilers were in a separate shown on a large scale for the first time. Now Japan was wake of 1851. Eiffel maintained that ‘only through building. The engine provided power for all the other turning to science also. scientific and engineering advances as well as progress machines on display. Less prominent was a liquid-fuelled in iron manufacture which characterise the end of our There was a special link too between Paris and Brayton internal combustion engine which used crude century can be overtake the preceding generations’ but a Philadelphia in 1876. The giant hand of Bartholdi’s petroleum. That was an engine that pointed to the group of shocked French writers, who included Alexandre ‘Statue of Liberty’ was on display to raise funds to future, although it was a new Otto & Company engine, Dumas and Guy de Maupassant, stated in public that complete the whole statue. The head was to be displayed patented in 1876-and not ready in time to be displayed they loathed the prospect of a ‘dizzily ridiculous tower two years later at the Paris Exposition of 1878 which at Philadelphia-that for the first time placed internal dominating Paris like a gigantic black factory chimney’. placed in a topographically strategic position a new

82 Trocadero Palace, flamboyantly eclectic in style, which was of its Women’s Pavilion was a woman, and within it the with an elevated passageway, trottoir roulant or moving to survive, with changes, until 1937, a year after London’s steam engine had been operated by a woman engineer. pavement which passed round almost the whole area of Crystal Palace. the Exposition. At the Columbian Exposition in Chicago in 1893 most of 3. The Exhibition Network Such forms of physical communication were to become the buildings were Beaux Arts buildings, derived from To understand the dynamics of what can rightly be called commonplace in the twentieth century, as were lifts French academic models of skyscrapers. Yet there was the international exhibition movement it is necessary to or elevators. Yet in investigating ‘circuits’ it is social one important exception, the Transportation Building, the explore more fully ‘contacts’ and ‘circuits’. These were communications which mattered most. Communication architect of which was Louis Sullivan, who disliked equally genuinely international, and they often survived between commissions in different countries - or their eclecticism and revivalism. Even more keenly aware of exhibitions, continuing to carry forward not only the envoys - was a basic ingredient in the exhibition era. the possibilities of iron and glass than Paxton had been, experience of each exhibition, but the ideas and values Theirs was a network which was more influential than the he was one of the architects of the world’s first true that it had expressed. There were always observers at Press network which reported exhibitions to people who skyscraper. Sullivan was bold enough to state that ‘the each exhibition, who reported what was happening, could not, for whatever reason, visit them. Yet, the Press damage wrought by the World’s Fair will last for half a sometimes officially, always in letters, and they identified network, which widened in the exhibition era, came to century from its date, if not longer’. particular points which they considered to be relevant to make the most of illustrations. Thus, in Paris L’Illustration the planning and organisation of international exhibitions reported regularly on Chicago, 1893. The Illustrated It was fitting that it was the Transportation Building that in their own countries. Thus, an official French observer, London News, first launched in 1842, made the most, Sullivan designed, for efficient transportation, still in its the Marquis de Chasseloup-Laubat, was present at without the aid of photography, of exhibition pictures railway phase, was an important element at all Chicago, where the French contribution to the 1893 from every great exhibition in the world. international exhibitions. In Philadelphia two special Exhibition was overshadowed by that of Germany, which railway lines were built before 1876, and in 159 days held few exhibitions of its own, but which followed The 1840s was the decade when in Britain a voluntary there were 66,467 special trains. In Chicago the city’s very carefully what was happening. (Before German body, the Royal Society of Arts, founded in 1754, a society elevated railway network was inaugurated in 1892, the unification in 1871 Bismarck and his Emperor had for ‘the Encouragement of Arts, Manufactures and first electric railway in the world, and along a new road attended the Paris Exposition of 1867.) In 1900 it Commerce’, organised national exhibitions in Britain artery, the Midway, named a ‘plaisance’, visitors could see produced a handsome illustrated catalogue of its exhibits on the eve of the first international exhibition in 1851. in a separate ‘Amusement Park’, Algerian, Dahomey, on display, complete with essays, in three languages, The Society, with a varied membership, provided the core Japanese and Lapland villages, an Irish market town, a French, German and English. The Marquis reported back executive to work with Prince Albert in seeing through Bedouin camp, a Persian harem and a whole street from to Paris that the United States was already the richest successfully the labours of the Great Exhibition. One Cairo. (There had been a Rue de Caire, always crowded, nation in the world, a comment which had been made member of the core group, already mentioned, Sir Henry in Paris in 1889.) about Britain by foreign observers in 1851. Cole, ‘a Prince Albert on a lowlier plane’, continued to direct the executive. The apt motto on the title page of There was one other feature both of Philadelphia and of Chasseloup-Laubat, who reported back to Paris that the his biography was ‘Whatsoever thy hand findeth do, Chicago which attracted considerable attention even from United States was already the richest nation in the world, do it with thy might’. visitors. There were Women’s Pavilions, the first of them, a comment which had been made about Britain by however, designed by a man. In 1876 the Centennial foreign observers in 1851, was present in Chicago Commissioners, the term used at the Great Exhibition to Exposition housed the fourth annual conference of the because a preparatory commission of fifty people was describe the men who took over from the Royal Society Association for the Advancement of Women, and at sitting already in Paris to prepare for what became the the responsibility for planning and organising the Chicago thirty-one sessions were devoted to a Congress great Paris Exposition of 1900, an exhibition, which as exhibition, were expected to work as well as to talk. on Women’s Progress. ‘We know the bringing together Geddes noted was a unique centennial opportunity to They included the Prime Minister and three other some- of men is more than the bringing together of things’, one undertake a stock-taking. It attracted not only large time Prime Ministers of different political complexions as speaker put it. ‘In these contacts are formed the circuits crowds, some of whom were attending an international well as representatives of the arts and sciences, including which constitute the currents of progress.’ Chicago had exhibition for the first time, but large numbers of people Sir Charles Eastlake, the President of the Royal Academy, been more ambitious than Philadelphia. The bringing who could by then describe themselves as seasoned Sir Charles Lyell, the geologist, Robert Stephenson, the together of women was more revolutionary. The architect exhibition experts. Both groups were especially delighted railway pioneer, William Cubitt, an engineer, and Charles

83 Barry, an architect. Cubitt, who already moved in Prince work harder, in the Agent’s own words, than he ever had until 1903, however, that the British Board of Trade Albert’s circle before 1851, was told that he would be done before to carry to success a Colonial and Indian created an Exhibitions Branch and set up a committee, embarking on ‘grander work’ than he had done before: Exhibition in 1886. The best Commissioners everywhere convened three years later, to study ‘the nature and extent he was chairman of the Building Committee. The were usually more interested in practicalities than in of the benefit accruing to British Arts, Industries and Commissioners carried out diplomatic as well as stereotyping. They learned from the experience of Trade’ from formal and official participation in planning duties. They had to deal with French Special one exhibition-what they learned from 1851 could be international exhibitions. Its report was published in Commissioners, for instance, and once the Exhibition was burdensome-how to plan for another. Their place within 1907, but the voluntary tradition in Britain remained well launched, they received an official invitation to Paris the state apparatus of their own countries varied, in some strong into the twentieth century. from Louis Napoleon, who was soon to declare himself cases relationships could be difficult, but their countries In France, where it was less strong, the Commissioner- Emperor Napoleon III. came to depend on them as they established authority- General at the Paris Exposition of 1900, Alfred Picard, individual, even collective-in their own sphere, which Napoleon III took a personal interest in the French an engineer, who had written the official report on the often included libraries, museums and art galleries as Exposition of 1855, when the number of exhibitors was Exposition of 1889, had extraordinary powers. Appointed well as exhibitions. greater than in 1851, and wrote a report on it which by ministerial decree and theoretically subservient to the influenced the next great Paris Exposition in 1867. Inevitably they were drawn through their stewardship into Minister of Commerce, he appointed his own assistants, Between the two a second great international exhibition- cultural controversy which might focus on the assembly, a small advisory body, and the members of a number of and the last-was held in London in 1862. It originated evaluation and physical transfer of national objects to sub-commissions, administering such Exposition features from the Royal Society of Arts and not from the 1851 international exhibitions overseas-agents in London helped as catalogue publishing, assembling congresses, Commissioners who, differently constituted, survived the in this-or on the appointment and qualifications of the supervising architects, builders and engineers, and, move of the Crystal Palace from Hyde Park. A smaller jurymen selected to make awards there. (Opposition was not least, dealing on a routine basis with foreign group of new Commissioners was now appointed, with expressed, particularly by the French, when in Chicago Commissioners. Each of the 47 nations represented Cole acting as ‘consulting Officer’ and watching its in 1893 juries were dispensed with and judges made the in Paris had to appoint Commissioners General. Any operations largely from outside. awards). In smaller countries single individuals could be disputes were usually settled without Picard becoming in sole charge of the circuits that linked the network. involved. There was an effective decentralisation, Both in 1855 and in 1862 contacts were important. Indeed, from 1851 onwards, there was resistance in many therefore, within a centralised leadership. So, too, were comparisons across time as well as across quarters to pricing objects on display, although in Britain space, as they were, particularly in 1867. Just because the Among the men who assisted Picard there were almost no Charles Babbage, economist as well as scientist and 1862 exhibition in London, which was planned for 1861, provincials, no politicians, no businessmen, no free-lance pioneer of the computer, was ‘strongly’ urging pricing was the second, many comparisons were drawn at the specialists. The men who moulded the exposition were in 1851 itself. In his opinion the absence of prices was time between the two exhibitions. The death of Albert teachers in state schools of engineering and art, civil ‘injurious both to art and to artists’, removing from‘ in 1861 was a blow to all the planning, but The Times, engineers, and a few army officers. Many of them had the field of competition the best judges of real merit’. much read abroad as well as in Britain, could write experience at earlier expositions. They were highly trained eloquently about a new ‘great picnic of art and science, At the time of the Chicago Columbian Exhibition of 1893 civil servants with a strong sense of esprit de corps. a world’s gathering ... with all the crowding, all the Walter H. Harris, a former sheriff of London and a British There were no such groups in the countries of the British strangely miscellaneous character, all the mixture of the Commissioner serving on its Board, wrote to the Foreign Empire where the voluntary sector was also less strong useful and the beautiful, the ingenious, the cheap and the Office in London suggesting the creation of a permanent, than it was in Britain. But there, where at first sight gay that there was in Hyde Park’. Its reporter even liked centralised and governmental exhibition committee on paradoxically nationalism could be strengthened at the building which was designed by a military engineer, the lines of existing committees in France and Germany international exhibitions, there was a dependence on Captain Fowke, and which was to become the first home which assembled French and German exhibitions. busy so-called ‘exhibition wallahs’, not usually full of what later became the Victoria and Albert Museum. He had concluded that the presence of a full-time Commissioners, but men whose importance was British ‘Commissioner-General’ present in Chicago-with Work as well as imagination was always required from recognised by governments anxious, if nothing else, to full power to act in concert with other foreign colonial Commissioners. One of them, South Australia’s publicise their national products. They were professionals Commissioners-General-would have assisted Britain which Sir Samuel Davenport, made the colony’s Agent-General whose influence could be strong, not least in classifying had been ‘signally outstripped by Germany’. It was not

84 objects. Prominent among them was an Indian, T N was only 35 million.) It was a costly exposition that prided Palace and the objects inside it, nevertheless found it Mukharji, the highest ranking Indian in the Department of itself, as many late twentieth-century films were to do, more interesting to watch people outside the Exhibition Revenue and Agriculture, where, with the humble rank of on its special effects-glass, water cascades, mirrors and, than to contemplate the objects inside it. Class II assistant, he was assistant for exhibitions and above all, electric light. The Arabian Nights image, The nature of the entertainment to be found inside and assistant curator in the Art and Economics Section of the conjured up in 1851, returned. ‘An opium smoker might outside the Exhibition space, not all of it ‘respectable’, Indian Museum in Calcutta. One of his productions was a have conceived this fairy palace after reading the Arabian sometimes shocked visitors, perhaps a majority of them, ‘sort of Index to the manufactures and raw materials of Nights’ was one response. In 1851 it had seemed a but entertainment contributed to the exhibition the great continent of India’. miracle when six million visitors had flocked to London. atmosphere during an exhibition even when there was no ‘The Exhibition of 1851 did for this nation what foreign Mukharji had links with Australia as well as with Britain. continuous flow of entertainment between exhibitions. travel does for the individual Briton’, wrote George The network was inter-colonial, as was demonstrated at This made the exhibition experience more intense. It also Frederick Pardon, the author of a popular guidebook to a small so-called international exhibition in Calcutta in encouraged what later became called ‘consumerism’. the second great International Exhibition held in London 1883/4. The number of colonial exhibitions, most of There were food and drinks never tasted before, souvenirs in 1862. He might have said the same about what them exhibiting people as well as objects, increased to purchase. Spending was encouraged at a time when exhibitions did for other nations too. Public travel was during the 1880s and 1890s. A Colonial and Indian thrift was being extolled as a complement to work. becoming international, but mass tourism was a late- Exhibition, held in London in 1886 provided propaganda twentieth century phenomenon. Increasingly, however, although there were complaints for empire, but at Paris 1900, where the French Empire concerning this side of international exhibitions, and more figured prominently, there was a significant Indian exhibit It was rightly taken as a sign of measurable success in stress was laid by their organisers on education. It was with beautifully dressed Indians serving as exhibition 1851 that the largest weekly totals of visitors were thought proper that visitors had to be informed and attendants. achieved in the last two weeks of the Exhibition in educated as well as entertained. Already in 1851 there October. Yet the first unforgettable day, May 1st, was Mukharji’s Australian counterparts are described below in were artisans who treated the Exhibition as ‘more of a open to season ticket holders as well as to privileged Section 6. One of them, E P Ramsay, New South Wales school than of a show’, and in 1862 there was an explicit official guests, and 25 000 of them were admitted in the Museum administrator and a visiting State Commissioner educational purpose as there was in Paris in 1867 and morning. In the intervening months, there were shilling to India, profited from an 1883 International Fisheries Chicago in 1893. Just as there was only an irregular flow days, and the largest number of people assembled on one Exhibition, one of a growing number of such specialised of entertainment before 1900, even in Paris and London, day in the Crystal Palace building-with a floor area twice exhibitions, to advance scientific and social links with so there was no regular schooling for all in Britain in the size of St. Peter’s Cathedral in Rome-was 93,224. Indian colleagues which led to the Australian Museum 1851. One of the sights of the Centennial Exhibition in acquiring over 750 specimens of Indian fish for permanent When people travelled to exhibitions, often in large Philadelphia in 1876 was a display of school textbooks, display in Sydney. There were similar colonial links in numbers, they were not mere observers. They were examples of students’ work, and school photographs. botany-Horticultural Halls were always popular and participants. Many of them came in families. They Whatever the intentions of Commissioners or politicians- exhibition displays often made their way into permanent belonged to all sections of society. The children were and clergymen-in the background and however museum collections. particularly welcomed. All shared what can properly be voluminous the amount of information provided, it described, like May 1st 1851, as ‘a museum experience’, was not easy to save visitors from confusion in many often described as ‘unforgettable’. Some people were 4. The Museum Experience exhibitions. This was particularly so in Paris 1900 where visiting London or Paris or Philadelphia or Chicago for the However important the Commissioners, ‘wallahs’ or one enthusiast complained that ‘no man has been actually first time so that their visit constituted a far more varied ‘experts’ might be in making international exhibitions able to see, much less is able to show this vast, indeed too new experience than that of entering the exhibition possible, the success of every exhibition depended on its vast, labyrinth of labyrinths, this enormous multitude of precincts. They were being introduced to a city, and that power to attract visitors. Vienna failed to do so: Paris collections, this museum of museums’. ‘All is too rather than the exhibition itself was usually the bazaar 1878 almost bankrupted the city. The Paris Exposition of crowded, and twice the space would not have been where everything was on sale. Crowded cities were 1900 was attended by over 50 million people, a smaller too much.’ figure than had been hoped for (60 million), but packed with strangers. Some visitors never got to the nevertheless the largest attendance of any nineteenth- exhibition at all. In 1851 the British historian, T B century exhibition. (The population of France at that time Macaulay, who delighted in the magic of the Crystal

85 As he listened to the crowds at the Exposition, a German been not by Commissioners but by company directors, It is as if a giant were flexing his muscles, stiffening his visitor, Friedrich Naumann, overheard Frenchmen saying opened on 30 April 1939 a few months before the arms and marking a tremendous effort to raise a simple ‘we’ll have no more expositions. This is the last.’ Geddes beginning of the Second World War. head-dress of lace above his head.’ gathered this impression too, acknowledging that in There were other kinds of legacy. Thus, the Prefect of Britain, as in France, there was a widespread distrust of 5. Exhibition Legacies Paris complained in 1900 immediately after the Exposition exhibitions at the end of the nineteenth century. Exhibitions came and went, but some of them left closed that it had left behind ‘large numbers of individuals ‘Rainbow optimism’ no longer swayed either legacies behind, physical, financial or intellectual cultural. from every corner of France and Europe’. ‘Now they have Commissioners or visitors. There was no longer a In London in 1851 the Royal Commissioners would have no livelihood. Some of these people are merely unlucky confident belief in Progress. And there was an increasing liked to keep the Crystal Palace in or near Hyde Park. people ... but there are others ... bandits, and burglars awareness of the element of drudgery in most people’s Instead, the building was moved out to Sydenham where and thieves or-what is even worse-those who live off work and of the existence of poverty in the midst of it began a new life, providing regular entertainment, them.’ plenty. The only place for an ambitious exposition after including classical music. The financial surplus of the 1900 was a city in the United States, although in 1901 Great Exhibition was substantial enough for the Glasgow held an international exhibition designed to 6. The View from Melbourne: an Commissioners to purchase land in South Kensington International Perspective compare 1851 and 1901. Glasgow, proclaiming Scots which subsequently housed a cluster of buildings in close That was not the view from Melbourne, despite its pride, considered itself as much of a world city as London. proximity to each other, in what was described by some larrikins, contemptuous of all authority, nor from Australia, contemporaries as a ‘quartier Latin’. Between 1901 and 1915 there were 41 exhibitions calling where different States had their own perspectives. themselves international, most of them in the United The complex included not only a College of Art but a Leaders of opinion in the Australian colonies had been States. The first of them, described as a Pan-American Museum, a Science Museum, and a Natural History interested in exhibitions from the time of the opening of World Fair, was held in Buffalo in 1901 and the second, Museum, a Royal College of Music and an Albert Hall. the Crystal Palace onwards. From the distant periphery held in St. Louis in 1904, had first been projected ten There was also to be an imposing Albert Memorial, of empire Australian exhibits made their way to London years earlier. It covered more space than all previous designed in 1862 and completed in 1876, synthesising then and in 1862, triumphing over distance as did the American international exhibitions put together, but it lost allegory and symbolism with narrative and historical telegraphic cable which reached Melbourne in July 1872. money heavily. The number of visitors was 19 million, representation, and bearing texts and images familiar to Soon foreign exhibits made their way to exhibitions in but only two-thirds of them paid for their admission, not all visitors to nineteenth century-exhibitions. The 1851 Sydney and Melbourne. many more than had paid for their tickets at Glasgow in Commissioners survived as a body, paying increasing As early as 1854 Melbourne erected its own first a relatively small international exhibition held three years attention as the century went by, as active exhibitions exhibition building which owed a debt, fully before. The St Louis Fair commemorated the centenary did, to the provision of funds for education. The surplus acknowledged, to the Crystal Palace. It had 200 of the American purchase of Louisiana from Napoleon continued to be put to good use. in 1804, but paid most attention not to exhibition era ornamental windows and was lit by 306 gas lights. themes but to what was now often called ‘American No other exhibition left such a rich legacy, but Paris,1900 An exhibition, modest in scale-there were 428 exhibits- empire’. left behind a number of buildings which changed the face was held in that year. An Australian sequence of of Paris as the Commissioners of 1851 had less directly exhibitions followed, some of them instituted by Sir The two most important international exhibitions of the changed the face of London. There were two new Redmond Barry, Chief Justice of Australia, founder and twentieth century came after the First World War and the buildings, the Grand Palais and the Petit Palais, which trustee of the Library, where some of the exhibitions Great Depression which followed the financial crash on are still used for exhibitions. For architectural critics they were held, and Chancellor of Melbourne University. Wall Street in 1929, had opened a great divide between represented ‘regressive tendencies’ as Sullivan believed The sequence culminated in impressive Melbourne the exhibition era and ‘modern times’. The Chicago most of the buildings in Chicago, 1893, had done. international exhibitions in 1880 and 1888. These took Exposition of 1933 labelled itself the Century of Progress ‘What can one say about the Grand Palais, a sort of place at a time when the city boomed. It was also a Exhibition in a year when progress was far more in doubt railway station where masses of stone have been piled time when the Australian colonies were placing more than it had been in 1893, and the New York World Fair of up to support what?’, one historian of art nouveau has emphasis, as indeed London then was, on empire and on 1939, ‘world fair of world fairs’, organised as St Louis had asked, offering his own reply, ‘A high, thin roof of glass. imperial trade, and less on the gospel of free trade which

86 had been proclaimed with complete confidence in 1851. On the opening day of the 1880 Exhibition twenty Crystal Palace in 1851 and an even bigger gun at the It never had been treated so confidently in Australia. Yet thousand people were in the streets watching a great Paris Exposition of 1867. Now there were ‘Armaments the timing of the 1880 Melbourne International Exhibition procession led by two brass bands. The building itself, pavilions’, labelled as such and said to be very popular was related less to what was happening in London than designed by Joseph Reed, who had arrived in Melbourne with visitors. Few people, gazing into the future, had any to the timing of the Centennial Exhibition in Philadelphia from England in 1852, was of Beaux Arts inspiration, as intimation, however, of what the next war would be like, in 1876 and the Paris Exposition of 1878. It was sensibly Chicago, 1893, was to be, and there were ‘aesthetic’ although it was plain long before it started that the thought that exhibits sent there might now make their sunflowers and lilies embellishing its dome and balconies. exhibition era which began in 1851 was over. The passion way to Melbourne. This was a genuinely international Of no major architectural significance, but placed in a systematically to relate past to present and present to preoccupation. garden in a new Victorian city with many imposing future as a universal theme was burning itself out. Victorian buildings, it was rightly held to be a triumph. The second Melbourne International Exhibition of 1888 It survives as a representative exhibition building of the had more British and imperial resonance. When Queen 7. Evaluating a heritage exhibition era, complete when it was opened with texts Victoria, who had given her name to the colony of Most of the objects seen in international exhibitions and symbols that caught the essence of the exhibition Victoria, celebrated her Golden Jubilee in 1887, were quickly dispersed, and many of the buildings experience. It has been fully described and its history Melbourne society celebrated it too. A vice-regal Jubilee were destined from the start to be pulled down quickly. found in D Dunstan’s Victorian Icon (1996). ball in Government House was described in a local journal Much of the printed material surrounding the exhibitions as ‘a blaze of colour; a poem in tones; a glimpse of The fact that it housed a second exhibition on a bigger was by its very nature ephemeral. Disaster by fire was fairyland’. scale in 1888 and that it survived both, though without common: the Sydney International Exhibition building of the original décor, and that most other exhibition 1879 was burnt down as early as 1882. What has There had been a note of pride ten years earlier, as there buildings elsewhere have not, places it firmly within a survived, therefore, is precious, witness to an exhibition was in most exhibition cities, in a message sent from the heritage. ‘Victoria Welcomes All Nations.’ ‘All the Earth is era distinctive in history. The history was economic, Victorian Commissioners to the Commissioners of the Full of Thy Riches.’ The adjective ‘royal’ attached to it only social, political even diplomatic, and always cultural. 1878 Paris Exposition. Melbourne, they stated, was now since 1980 adds to rather than diminishes its nineteenth- The exhibition era was an era when history counted. ‘the site of a populous and well-built city presenting all century significance as it does when attached to the More has survived in Melbourne than in most places, the evidences of wealth and civilisation, taking rank with present buildings in the Kensington complex in London, throwing light on world history, colonial and imperial the foremost cities of the world’. ‘The rapid progress of once nicknamed ‘Albertopolis’. history, national history and, not least, Australian history, Australasia’ was ‘one of the marvels of modern times’. placing that history within a world frame before The increase of wealth and the advance of civilisation The Second Exhibition, a centennial exhibition to celebrate professional historians in Australian fully charted it. were part of a single process. a century of Australian history, attracted over two million people, but it was necessary for the Victorian government The international dimension in the heritage is what gives The same note was struck in 1880 by Sir William Clarke, to spend £250 000 on it, ten times the amount estimated, the exhibition era contemporary as well as historical the chairman of the Commissioners who planned the a sum which seemed absurd after the economic boom importance. The objects on display at all international 1880 Exhibition. The site on which a new building was had burst as it did in 1889. There was a greater emphasis exhibitions came from all parts of the world and from the erected ‘only a generation ago was part of an unknown on culture than in 1880, particularly on music and start included raw materials as well as finished articles and forest in an unknown land’. And the theme was taken painting. A choir of five thousand sang music old and traditional as well as manufactured products. The people up in a prize cantata, Victoria, with music by Leon Caron. new, and half a million people attended symphony on display too were part of the ethnography. The role of Part I described the past, ‘Victoria sleeping amidst the concerts. There were two landscape paintings on display, power-driven industry-and of transportation-was primeval solitudes and awakened by voices foretelling one by Frederic Leighton, and there was a life-size emphasised in ‘Palaces of Industry’ where huge crowds speedy discovery and development’. Part II described how painting of Bismarck addressing the Reichstag by Anton could see not only static objects but machines at work. Victoria, now Queen of the South, is discovered ‘engaged von Werner. The values behind the exhibitions were international too. in varioqus pursuits’-pastoral, agricultural and industrial- Work was hailed: mankind was treated as one and the and is approached by a company of nymphs, Exhibitions which took place late in the exhibition era future of mankind was explored. There was unity in ‘representing the various nations of the earth’. were less attached to the gospel of peace than their diversity. The language itself, which seldom incorporated predecessors. A Krupps gun had been displayed in the

87 the word ‘technology’ and never incorporated the word Criteria have been set for listing historic properties in a ‘global’, is part of the heritage. World Heritage list. As the Melbourne International Exhibition building (with inevitable changes) survives in its Because there was an international exhibition sequence Carlton Gardens setting, with conservation rules applied it is possible to trace not only the changing use of raw to it, Buildings and Gardens are already a rich part of the materials (rubber, for example, or aluminium) and new international heritage in itself. More important, however, modes of production, both transformed through science, they bear witness to the spell of international exhibitions, but changing attitudes to the historic heritage and to the a spell still not lost in a very different era, and still environment, to human relationships and, indeed, in associated in new circumstances with hope as well as language and values. The gospel of peace could ring with memory. The values associated with international hollow when there were popular pavilions devoted to war. exhibitions are still relevant. How they were expressed is Because there were major changes in attitudes towards part of living history. Melbourne has a special place on the empire during the exhibition era, both at the centre and heritage map which calls for full international recognition. at the periphery, the imperial element in international exhibitions which became a more potent ingredient in them during the 1880s and 1890s is a feature to emphasise. Colonies developed their independent outlook and orientation, with Australia leading the way and after 1888 forging its own trade routes with European countries besides Britain and across the Pacific with Canada, where there was both a British and a French inheritance. Nationalism emerged within an international context, as international exhibitions in colonial countries demonstrated. There was a persistent looking to the future (the word ‘utopian’ is misleading). In the future was hope. In Australia the international exhibitions, always matters of pride, were of importance in forging a sense of Australia within an imperial and what is now called a global context. They also helped to introduce the world to Australia. One of the most revealing accounts of the 1888 Exhibition was the official report on it by R Burdett Smith, New South Wales Executive Commissioner, covering all sections of the Exhibition, it stressed ‘the moral effects of the event’. New South Wales had a ‘fine spirit of Australian patriotism permeated all who had a responsible personal interest’ in it, but it pointed towards ‘harmonious relations with all parts of the civilised world’. It adds to the sense of heritage that when the Exhibition Hall ceased to be used for international exhibitions, it was given special importance when the first Federal Parliament met there in 1901. By then the exhibition era had virtually come to a close.

88

eastern annexes and these were demolished in 1961 and Royal Exhibition Building (Australia) 1979 respectively. The Royal Exhibition Building is constructed of a mixture of brick and timber, steel and slate. The walls are of No 1131 cement rendered brick, originally unpainted but subsequently painted. The roof is timber-framed covered with slate and corrugated steel. 1. BASIC DATA The building and grounds were designed by Joseph Reed, of Reed and Barnes architects, as a result of a competition. State Party: Australia His scheme combines Gothic and Classical elements and Name of property: Royal Exhibition Building and Carlton also amalgamates the German Rundbogenstil (round- Gardens arched) style with other more familiar motifs from earlier European buildings. It is thus an amalgam of elements Location: Melbourne, Victoria from Byzantine, Romanesque, Lombardic and Italian Date received: 31 December 2002 Renaissance buildings. Category of property: Like earlier great exhibition buildings, it combined religious and secular elements. In form it was a cross In terms of the categories of cultural property set out in between a banqueting hall and a church, with aisles, naves, Article 1 of the 1972 World Heritage Convention, this is a transepts, and clerestory and viewing galleries at high site. level. Brief description: Its main door, surrounded by a massive portico in the form of a triumphal arch, faces south towards the city. Rising The Royal Exhibition Building and its surrounding gardens above the building, a huge dome mounted on an octagonal were used for the great international exhibitions of 1880 drum is a highly visible feature of the city skyline. The and 1888. They now represent ideas promulgated by the platform base of the dome originally formed a public international exhibition movement. viewing area.

Each elevation consists of a central porch flanked by 2. THE PROPERTY regular bays and terminated by corner pavilions with mansard roofs. The bays either side of the portals rise over Description three levels. The southern elevation is the most elaborate Situated in the heart of Melbourne, the site covers a with the bays decorated with pilasters, aedicules and heavy rectangular block of 26 hectares bounded by four city cornices surmounted by scrolled discs. streets. No formal buffer zone is proposed. The east and west elevation are smaller in scale and have In the centre of the site, on high open ground, is the Royal less decoration. Exhibition building erected for the 1880 Melbourne Inside, the tall central space has a raked ceiling flanked by International Exhibition. To the south and north are lower aisles with mezzanine galleries over. A clerestory formally laid out ‘palace’ gardens, the latter created after runs the length of the ‘nave’. The roof system of timber the closing of the second Great Exhibition of 1888, held in trusses connected by a metal tie rod, embellished with the same building. timber fretwork in imitation of four-centred arches and The site thus consists of two elements: pendants, is similar to that used for the 1862 London Exhibition building. The massive central dome, rising • Royal Exhibition Building 68 m above the floor and 18 m in diameter, is supported on four round-headed arches and arched pendentives. • Carlton Gardens Much of the interior was decorated to provide a The site is also valued for its: background for the exhibits. The original decoration was • Association with the International Exhibition carried out by John Mather. He used a combination of movement aesthetic sunflowers, lilies, allegorical images promoting arts, science, industry and agriculture, and the coats of These are described in turn: arms of exhibiting nations. • Royal Exhibition Building Mather's scheme was overprinted for the second great The Royal Exhibition Building is what is left of a complex exhibition by John Clay Beeler. This second scheme was of buildings erected for the 1880 Melbourne Great ‘florid and embellished’ using strong colours of red, blue International Exhibition. Unlike many exhibitions, this and gold. It had similar messages of Empire, glory and complex consisted of both permanent and temporary improvement. structures. The central Great Hall was considered to be a In 1901 the building was again repainted this time for the permanent structure which would continue to function opening of the first Commonwealth Parliament. The artist after the exhibition had closed. Cruciform in plan, the was John Ross Anderson. He chose sombre colours of Great Hall (now the Royal Exhibition Building) was browns, reds and greens contained improving mottoes and, flanked by two smaller wings, known as the western and tableau representing Peace, War, Federation and government – the whole concept deriving much from

19 J. G. Crace’s scheme for the 1862 London great exhibition. Association with the International Exhibition movement This scheme, overpainted in the 20th century, is now being The relationship of the building to the overall great restored. international exhibition movement, or phenomena, is The west transept was fitted with an organ - larger than St brought out in the next History section. In summary the Paul’s London. This no longer exists, having been building, its decoration and its surrounding gardens, dismantled in 1965. together are seen to reflect what became the standard ‘form’ of layout and presentation of these major • Carlton Gardens exhibitions and are now seen as the sole major remaining The Carlton Gardens provide the setting for the Exhibition survivor of this genre. Building on all four sides. The main gardens are to the north and south. The south gardens during both great exhibitions were laid out as pleasure grounds, designed by History Joseph Reed, while the north garden space was used to The history of the buildings and gardens is closely linked house extensive temporary pavilions and was only to the history and development of the international landscaped after the close of the events. exhibition movement – a phenomena that spread across all The south gardens are in ‘gardenesque style’ (planting continents. Although the first great exhibition took place in reflecting scientific botanical interest) with a formal 1851, in the Crystal Palace in London, the idea of symmetrical layout around an axial path leading to the celebrating manufactured goods had been in being for south front entrance. The planting consisted of avenues of almost a century, with national exhibitions in England then plane and Turkey oak trees, exotic and native specimen France and elsewhere in Europe. trees, and parterre flowerbeds used for elaborate summer The difference between these small celebrations and bedding displays. There were two lakes with islands and promotions and the great exhibitions that followed was of shrubberies and a number of fountains. The whole was scale and classification. The great exhibition movement, as linked by geometrical and linear paths and surrounded by a it came to be known, espoused the 19th century passion for cast-iron perimeter fence above a blue-stone plinth. A discovery and creation, but above all for classification. notable feature is the Hochgurtel Fountain installed at the Classification – as exemplified in museums and botanical focus of the southern pathway system, and the largest and collections – demonstrated man’s control over his most elaborate fountain in Australia. surroundings. Great exhibitions were a way of both The garden reflects a major input from the 19th century celebrating the industry that emerged from the Industrial horticulturalist William Sangster, particularly in the Revolution, and showing man’s domination over it in an selection of plants and trees. international context. The garden was added to for the 1888 great exhibition but Over 50 exhibitions were held between 1851 and 1915, retains most of the main elements of the 1880s scheme and each different yet sharing common theme and aims – to a high number of trees survive from that date, although chart material and moral progress within a world context, some of the detail has been lost such as parterres, railings, through displaying the industry of all nations. Venues fountains and seats. included Paris, New York, Vienna, Calcutta, Kingston, Jamaica and Santiago, Chile. Most had display ‘palaces’ The north garden was originally the site of the temporary specially constructed, often from manufactured iron exhibition halls. After their demolition at the close of the components stretching technology to the limit. first great exhibition, the area was landscaped as a public park. The design is attributed to Clement Hodgkinson and By the 1870s a form for the overall layout had come to be his layout was subsequently re-established after the 1888 established which consisted of clusters of history-domes, fair. As in the south garden, there were cast-iron perimeter national pavilions and viewing platforms surrounding a railings, although only a small part survives. ‘Palace of Industry’ all set within landscape grounds. And a network of contacts has been set up with The north garden now houses the new Melbourne Museum ‘commissioners’ observing and suggesting improvements constructed on the site in 2000. This building now for the next event. dominates the north garden. The conservation plan notes that the construction of this building has not been without By around 1900 the slowing of national economies, impact on the gardens. Some pathways have been removed combined with peoples’ realisation that manufacturing did and had their alignment changed and the diagonal avenues not always improve the quality of life, led, outside the of Chestnut-leaved oak and Dutch Elm close to the face of United States, to exhibitions begun to lose their appeal. the building may potentially be affected by the The Royal Exhibition Building in Melbourne is thus an construction works. What remains of the park to at the example from the mid-point of the movement. It did not north end is crossed by avenues of mature trees. appear out of nowhere: a first small exhibition building Overall most survives in the south garden, less in the north had been built in 1854, and others followed larger in scale, garden and least in the east and west. The more ephemeral usually precursors to international exhibitions elsewhere. garden ornamentation features are substantially lost, The two international exhibitions of 1880 and 1888 took although documentation survives. place at a time when Melbourne was booming. The gardens are of considerable botanical significance for Unlike many other exhibition buildings, Melbourne’s has their collections of trees, many of which are rare or of survived still on its original plot and surrounded by outstanding form. gardens. However there have been significant changes to the extended complex of buildings and gardens. The east

20 and west annexes of the exhibition building were removed management delegated to the Melbourne Museum Division in the 1960s and 1970s (one of the halls being re- and specifically to the Director. constructed off-site as a tram museum). The major recent The City of Melbourne has been appointed as the change has been the building of the new Melbourne Committee of Management for the Carlton Gardens. The Museum in the north garden. Parks and Recreation Group of the City of Melbourne The uses of the building have been diverse since it was undertakes the planning management roles directly. Day to built. Until 1901 it was used for exhibitions. It then day maintenance is carried out by private contractors. became part of the parliament until 1919 when it was used Resources: a fever hospital during the First World War. Between then and 1975 it served as stores and offices, and as troop Day to day management operations for the Royal accommodation and as a ballroom. The new direction for Exhibition Building is financed from its commercial the building started in 1975 when was officially listed on revenue stream. The exhibition building used as an the Register of the National Estate. exhibition venue generates sufficient income to ensure its financial stability. Museum Victoria provides a budget for The adjective Royal was added to the building in 1980. site interpretation. Funds for capital works are provided by the Sate Government of Victoria. Management regime The City of Melbourne funds management, maintenance and capital works for the Carlton Gardens. Legal provision: Staff on the site as a whole (including the new museum) Australia has a three-tier system of legislation: has expertise in conservation practices, as well as in Commonwealth (national), State (provincial) and local research and curatorial areas. Specialist architectural levels. In the State of Victoria, heritage is primarily conservation advice is sought from consultants for the managed at State level through Heritage Victoria which is Royal Exhibition Building, and from landscape architects, governed by the Heritage Council of Victoria, appointed arboriculturalists, conservators and conservation managers by the State Government. for the Carlton Gardens. The Royal Exhibition and Carlton Gardens are listed on the Commonwealth’ Government’s Register of the National Estate. This does not provide direct legal Justification by the State Party (summary) controls, but authorities must alert the Australian Heritage The Royal Exhibition Building has outstanding universal Commission to actions that might significantly affect the value for the following qualities: values of places on the Register. The buildings and gardens are also listed in the Victorian Heritage Register, • Rare surviving manifestation of the international which means that designated sites need permission from exhibition phenomena; Heritage Victoria for any works undertaken to them. • The only surviving Great Hall of the ‘Palace of The City of Melbourne has responsibility for Heritage Industry’, the focal point for international Overlay Zones, which form a key part of the development exhibitions; control planning process. Heritage Overlay Zones govern issues such as bulk and mass of new development, height, • The buildings and gardens are broadly representative the retention of fabric, colours and preferred building of the themes and architectural characteristics shared materials. by other structures and sites; The nominated site thus has two overlapping levels of • The buildings and gardens are unique in having heritage legislation. If the site were inscribed the maintained authenticity of form and function; Commonwealth government would ‘endorse’ the Heritage Overlay Zones as the buffer for the site – but how this • The exhibitions were a shop front for the industrial would be done is not clear, nor precisely how the scope of revolution which shaped some of the greatest global the setting of the World Heritage site would be defined and social and economic transformations. whether this would coincides with the Heritage Overlay Zone. 3. ICOMOS EVALUATION The nomination indicates that no formal buffer zone is proposed as the Heritage Overlay Zone protection would Actions by ICOMOS be sufficient. However the site is bordered to the south by An ICOMOS expert mission visited the site in September the central business district within which there are few 2003. heritage listed buildings. Also the axial arrangement from the front of the building south to the Houses of Parliament needs defining and reinforcing. There would seem to be a Conservation need for better protection than currently offered by the Heritage Overlay Zone. Conservation history: Management structure: The Royal Exhibition Building underwent a major restoration project in 1995 during which the decorated The Museums Board Victoria has overall responsibility for interior finishes were restored to their 1901 form. Prior to the Royal Exhibition Building with day to day that in the 1980s, a programme was undertaken to bring services up to date. Further conservation works were

21 undertaken in 1999-2001 to repair rendered facades, - Natural disasters: windows, doors, the east roof and exterior painting. All The greatest risk is perceived to be fire as a substantial part work has been undertaken in accordance with the of the building is timber. To minimise this risk a full ICOMOS Australia Burra Charter. sprinkler system has been installed and a direct connection No conservation history for the gardens was detailed in the made to the fire brigade. nomination dossier. - Visitor/Tourism pressures: State of conservation: Although the new Melbourne Museum attracts over Major restoration works that have been undertaken over a 800,000 visitors a year, this number is not considered number of years have left the Royal Exhibition Building detrimental to the Royal Exhibition Building or the an excellent state of conservation and repair. gardens. The greatest pressure on the gardens comes for the annual flower show – it is stated that damage from this Overall the gardens appear to be well maintained. The is repaired immediately. draft conservation plan states that the tree canopy in the gardens is in fair to good condition and mentions that shrubberies are overgrown or degraded and require Authenticity and integrity attention. Authenticity: Management: One of the key issues connected with this site is the issue Two separate management plans have been produced for of authenticity. The site is being put forward as an the site, one for the Royal Exhibition Building and a exemplar site, one that represents the great exhibition second (a conservation management plan still in draft) for movement. It is not suggested that the Royal Exhibition the Carlton Gardens. A Master Plan is being developed for Building is the best Great Exhibition Hall built during the the gardens due for completion at the end of 2003. This 50 years or so during which great exhibitions were in will encompass the conservation management plan. Both vogue, rather it is suggested that the Royal Exhibition plans have been informed by the principles of the Burra Building is a representative of the genre, one of the few Charter. great halls to survive, the only one left built to display Allied to the production of the garden plan is a debate on industry, and the only one to have remained in use as a the future form of parts of the garden, given the impact of hall, still connected to its surrounding land. global warming and the need to consider ‘water-wise’ In terms of authenticity consideration needs to be given to landscaping in the southern hemisphere. At the time of the ensemble of hall (used to display industry), decorated submission, no definite conclusion had been reached on interior and surrounding park. the questions of planting or replacement of trees in the gardens, and, in particular, whether certain exotic plants The Royal Exhibition Building has survived relatively should be replaced with local alternatives. unchanged in it fabric, Two small wings were demolished in the 1950s and 1960s. What has been lost – or covered The separate plans reflect their different management up – is the interior decoration connected to the great authorities for the Royal Exhibition Building and the exhibition period. It is understood that much of the second Carlton Gardens. The Melbourne Museum is responsible scheme does survive, albeit over-painted. However the for the exhibition building and the Parks and Recreation decision was taken to restore the third scheme, which was section of the City of Melbourne for the gardens. unrelated to the great exhibition movement, but associated Although it is understood that there is a good informal with the opening of the first Australian Parliament, an working relationship between the two institutions, it would event of great national significance. What has also been be preferable if there was could be one overall integrated lost from the interior is the Great Organ housed in one of management authority comprising representatives from the wings and the high level walkways, although there is a both institutions. Such a body could develop long term proposal to re-construct these. sustainable management practices for both the buildings In the grounds, it is not possible to say that what is there and the gardens together. From discussions during the now is a complete reflection of the decorative scheme from mission there seemed to be acceptance of this in principle. the great exhibition period. Much detail has been lost (such Risk analysis: as the cast iron fencing), some features have not survived (such as the parterres to the south) and perhaps most The following are put forward in the nomination: significantly a large part of the north garden has been - Development pressures: covered by the new Melbourne Museum. This large new building, prominently sited facing the rear of the Royal It is stated that there are no major development pressures Exhibition Building is one of the problematic aspects of within the gardens as the whole area cannot be sold this nomination. without an Act of Parliament. However one significant development has already taken place in the building of the The new building is on the site of the temporary new Melbourne Museum, which covers more than half the exhibitions buildings. These were not designed to last north garden. beyond the exhibitions, whereas the main hall was seen as a permanent structure. It was however the intention – - Environmental pressures: carried out – that as soon as the temporary buildings were It is stated that poor air borne pollution is not a problem removed the space would be landscaped as a setting for the for the building structures and plants. permanent structure.

22 If the site had been successfully inscribed some years ago, has been identified and more information about this has it would have been difficult to justify an intervention of been sought.] this magnitude. On the positive side, it could be argued All apart from the Eiffel Tower were used to display fine that the new Museum adds to the vitality of the site. arts. If one accepts that the primary focus of the great However in terms of authenticity of the whole ensemble, exhibitions was the Great Hall of Industry, then the only the new building detracts from the setting of the Royal site to have retained its building is Melbourne. However if Exhibition building and removes part of the north garden. one is looking for buildings to represent the Great Integrity: Exhibition movement and its ideals, there are other contenders. Equally importantly the new building impinges in the integrity of the site. If the value of the site is connected to the way the layout in Melbourne reflect the general ‘form’ Outstanding universal value of great exhibitions around the world, then undoubtedly a part of that form has been lost with the building of the Evaluation of criteria: large new Museum. The property is nominated on the basis of criteria ii, iv and vi. Comparative evaluation The key question is whether the Royal Exhibition Building 4. ICOMOS RECOMMENDATIONS and associated gardens is outstanding by virtue of the way its represents the great exhibition movement. What needs Recommendation for the future discussing is whether its form is a key exemplar of the There is no doubt that this site is of national significance movement and how intact that form still is. Consideration and one that is of value to the people of Victoria. The way also needs to be given as to whether what survives is an it is looked after reflects the value with which it is held. It exemplar in terms of the aims of the great exhibition is however more difficult to justify its outstanding movement. universal value. The great exhibition movement espoused innovation and The association of the complex with the Great Exhibition change: exhibitions were set up to show skills, movement is very strong, as its scarcity value. However craftsmanship and the new limits of technology. In many the integrity of the site has been compromised by the exhibitions, the structures of the buildings themselves were introduction of a large new museum. Secondly the quality part of the display, in showing how innovative technology of the exhibition building cannot be said to reflect the could be stretched to the limits. The Crystal Palace in highest quality the great exhibition movement produced London was one the largest cast iron and glass structures not its overall ideals. ever assembled, the Eiffel Tower in Paris one of the tallest cast iron structures: both were built to showcase The building could perhaps be considered as a particularly technology. On the other hand the Royal Exhibition Australian response to the Great Exhibition movement, or Building was more cautious in its approach. The to have significance as an exemplar of the Great Exhibition construction mainly of brick and timber was not in itself movement in the Australians, or to have been particularly innovative. The architecture is pleasant but not outstanding influential in generating response to industry and the ideals and it is following rather than setting trends. of the exhibition movement through interchange of ideas in areas comparatively remote from the main centres of the Great exhibitions aimed to be innovative and to give industrial revolution. But these aspects were not analysed meaning to modernity. They displayed technological in the nomination dossier. invention and achievement and celebrated diversity and industry. They also showed the ability of peoples to understand the extent and variety of the world’s resources Recommendation with respect to inscription – both natural and man-made – through classification systems. In many cases the great exhibition buildings were That the nomination be deferred in order to allow the State afterwards used to set up museums for either technology or Party to explore further the cultural qualities of the overall arts – and that purpose was woven into the exhibition aims. site and to consider other potential outstanding universal Thus the purposes of the exhibitions were carried forward. value, as well as questions of authenticity and integrity. This would allow more research to be undertaken which The Royal Exhibition Building was used after the second could consider: exhibition as an exhibition forum until the building became part of the parliament in 1901. It is only in the last o Comparative analysis of extant exhibition ten years or so that is has re-gained its use as an exhibition complexes, their qualities and significances and centre. their influence in terms of exchanges of ideas related to technological innovation and change. The nomination document gave an analysis of surviving great exhibition buildings. Although a considerable o The authenticity and integrity of Carlton number survive such as the Eiffel Tower, Petit and Grand Gardens as a part of the overall exhibition site. Palais in Paris, the Glasgow Fine Arts Building, the

Memorial Hall in Philadelphia, the Palace of Fine Arts in Chicago, and the Palace of Fine Arts, St. Louis, none of ICOMOS, March 2004 these structures were built as a Hall of Industry. [Since the nomination was written the complex at Santiago in Chile

23 Ces éléments sont décrits ci-dessous :

Palais royal des expositions (Australie) • Palais royal des expositions :

No 1131 Le palais royal des expositions est ce qui reste d’un ensemble de bâtiments érigés pour la grande exposition internationale de Melbourne, en 1880. Contrairement à de nombreuses expositions, cet ensemble se composait à la fois de structures permanentes et temporaires. Le grand hall était considéré comme une structure permanente, destinée à rester en fonction après la fermeture des portes 1. IDENTIFICATION de l’exposition. De plan cruciforme, le grand hall (désormais le palais royal des expositions) était flanqué de État partie : Australie deux ailes plus petites, connues sous le nom d’annexes ouest et est, et démolies respectivement en 1961 et en Bien proposé : Palais royal des expositions 1979. et jardins Carlton Le palais royal des expositions associe brique et bois, acier Lieu : Melbourne, Victoria et ardoise. Les murs sont en briques enduites de ciment, brut à l’origine, mais peint par la suite. Le toit est une Date de réception : 31 décembre 2002 structure de bois couverte d’ardoises et d’acier ondulé.

Catégorie de bien : Le bâtiment et les sols ont été conçus par Joseph Reed, du cabinet d’architectes Reed and Barnes, après un concours. En termes de catégories de biens culturels, telles qu’elles Son plan combine des éléments gothiques et classiques, et sont définies à l’article premier de la Convention du associe aussi le style Rundbogenstil (arc en plein cintre) patrimoine mondial de 1972, il s’agit d’un site. allemand à d’autres motifs plus familiers issus d’édifices européens antérieurs. C’est donc un amalgame de traits Brève description : byzantins, romans, lombards et de la Renaissance italienne. Le palais royal des expositions et les jardins qui l’entourent accueillirent les grandes expositions Comme d’autres grands bâtiments d’exposition, il associait internationales de 1880 et de 1888. Ils représentent éléments religieux et séculiers. Sa forme est en effet un aujourd’hui les idées dont le mouvement des expositions croisement entre une salle de banquet et une église, avec internationales était le hérault. des bas-côtés, des nefs, des transepts, un étage de fenêtres hautes et des galeries en surplomb.

2. LE BIEN La porte principale, entourée d’un portique massif en arc de triomphe, est orientée au sud, en direction de la ville. Description Au-dessus du bâtiment, un énorme dôme monté sur un

tambour octogonal se détache sur la ligne d’horizon de la Situé au cœur de Melbourne, le site couvre un rectangle de ville. La plate-forme qui constitue la base du dôme était à 26 hectares, délimité par quatre rues. Aucune zone tampon l’origine un espace panoramique public. officielle n’est proposée.

Chaque élévation se compose d’un porche central flanqué Au cœur du site, sur un vaste espace surélevé, se dresse le de baies régulières et terminé par des pavillons d’angle au palais royal des expositions, construit pour l’exposition toit mansardé. Les baies de chaque côté des portes internationale de 1880, à Melbourne. Au sud et au nord se s’élèvent sur trois niveaux. L’élévation sud est la plus trouvent des jardins structurés, créés après la fermeture de élaborée, les baies étant décorées de pilastres, d’édicules et la deuxième Grande Exposition de 1888, tenue dans le de lourdes corniches surmontées de volutes. même bâtiment.

Les élévations est et ouest sont de plus petite taille et sont Le site se compose donc de deux éléments : plus sobres.

• Palais royal des expositions À l’intérieur, le grand espace central présente un plafond incliné flanqué de bas-côtés plus bas, avec des galeries en • Jardins Carlton mezzanine au-dessus. Une galerie de fenêtres court sur toute la longueur de la « nef ». Le système de la toiture Les valeurs du site reposent également sur son : constitué de fermes de bois reliées par un tirant métallique et embelli de pièces chantournées de bois imitant des arcs • Association avec le mouvement des expositions en accolade et des pendants, est similaire à celui utilisé internationales pour le bâtiment de l’Exposition de Londres, en 1862. Le dôme central massif, s’élevant à 68 m au-dessus du sol et de 18 m de diamètre, est soutenu par quatre arcs en plein cintre et des pendentifs.

24 L’intérieur a en grande partie été décoré pour servir de est attribuée à Clement Hodgkinson et elle fut rétablie à toile de fond à l’exposition. La décoration d’origine a été l’occasion de la foire de 1888. Comme le jardin du sud, il réalisée par John Mather, qui a associé des tournesols et était délimité par des clôtures à claire-voie en fonte, dont des lys très esthétiques à des images allégoriques sur les seules quelques parties subsistent. arts, la science, l’industrie et l’agriculture, ainsi qu’aux armes des nations exposantes. Le jardin du nord abrite maintenant le nouveau musée de Melbourne, construit sur le site en 2000 et qui domine La décoration de Mather a été supplantée par celle de John aujourd’hui le jardin du nord. Le plan de conservation Clay Beeler pour la seconde grande exposition. Ce second déclare que la construction de ce bâtiment n’a pas été sans projet, plus « fleuri », a été « embelli » de couleurs fortes, conséquence sur les jardins. Certaines allées ont été rouge, bleu et or, tout en gardant une thématique similaire : supprimées et leur alignement modifié, et les allées l’Empire, la gloire, le progrès. transversales de Chestnut-leaved oak et de Dutch Elm à proximité du bâtiment risquent d’être affectées par les En 1901, le bâtiment a de nouveau été repeint, cette fois à travaux de construction. À l’extrémité nord, des allées l’occasion de l’ouverture du premier Parlement du bordées d’arbres de grand âge traversent ce qui reste du Commonwealth, par l’artiste John Ross Anderson. Ce parc. dernier a choisi des bruns, des rouges et des verts sombres plus retenus, avec des devises et un tableau représentant la Dans l’ensemble, le jardin sud subsiste dans sa majeure Paix, la Guerre, la Fédération et le gouvernement – tout le partie, mais c’est moins vrai du jardin nord et moins concept s’inspirant dans une grande mesure du projet de encore des jardins est et ouest. Les ornementations plus J. G. Crace pour la grande exposition londonienne de éphémères des jardins ont quasiment disparu, bien qu’il 1862. Ce décor, qui a été de nombreuses fois recouvert au reste de la documentation à leur sujet. XXe siècle, est actuellement en cours de restauration. Les jardins sont d’un intérêt botanique considérable pour Le transept ouest a été équipé d’un orgue, plus grand que leurs collections d’arbres, dont beaucoup sont issus celui de la cathédrale Saint-Paul de Londres. Démonté en d’essences rares ou sont d’une beauté exceptionnelle. 1965, il a aujourd’hui disparu. - Association avec le mouvement des expositions • Jardins Carlton : internationales :

Les jardins Carlton entourent le palais royal des La relation de l’édifice avec le mouvement général des expositions sur ses quatre côtés. Les jardins principaux grandes expositions internationales est présentée dans la sont au nord et au sud. Pendant les deux grandes prochaine rubrique, Histoire. En résumé, l’édifice, sa expositions, ceux du sud étaient des espaces de détente décoration et les jardins avoisinants, ensemble, reflètent ce conçus par Joseph Reed, tandis que ceux du nord qui est devenu la forme « standard » de disposition et de accueillaient de grands pavillons temporaires et ne furent présentation de ces grandes expositions, et on le considère dessinés qu’après la clôture des événements. aujourd’hui comme le seul qui demeure de ce type.

Les jardins du sud sont de style gardenesque (c’est-à-dire qu’ils reflètent un intérêt botanique scientifique) avec une Histoire disposition formelle symétrique autour d’un chemin axial conduisant à l’entrée principale, au sud. Ils sont plantés L’histoire des bâtiments et des jardins est étroitement liée à d’allées de platanes et de chênes de Turquie, d’essences l’histoire et au développement du mouvement des exotiques ou locales, avec des parterres d’été élaborés. Il y expositions internationales – un phénomène qui s’est avait deux lacs avec des îles, des massifs d’arbustes et répandu dans tous les continents. Quoique la première plusieurs fontaines. L’ensemble était relié par des allées grande exposition ait eu lieu en 1851, au Crystal Palace de géométriques et linéaires et entouré d’une palissade en Londres, l’idée de célébrer les produits industriels était fonte, avec un soubassement en chalcanthite. Un élément dans l’air depuis presque un siècle, avec des expositions important est la fontaine Hochgurtel, installée au cœur du nationales en Angleterre puis en France et ailleurs en système d’allées au sud, la plus grande et la plus élaborée Europe. de toute l’Australie. La différence entre ces célébrations de moindre envergure Le jardin reflète l’influence majeure de l’horticulteur du et les grandes expositions qui suivirent résidait dans leur XIXe siècle William Sangster, particulièrement en ce qui échelle et dans des questions de classification. Le concerne la sélection de plantes et d’arbres. mouvement des grandes expositions, comme on l’appela ensuite, épousait la passion du XIXe siècle pour la Le jardin a été agrandi à l’occasion de la grande exposition découverte et la création, mais avant tout pour la de 1888, mais il conserve la plupart des principaux classification. La classification – comme l’illustraient les éléments du projet de 1880 et un grand nombre d’arbres de musées et les collections botaniques – démontraient le cette date subsistent, quoique certains détails tels parterres, contrôle de l’homme sur son environnement. Les grandes clôtures à claire-voie, fontaines et bancs aient disparu. expositions étaient une forme d’ode à l’industrie naissante, au sortir de la Révolution industrielle, mais aussi un Le jardin du nord était à l’origine le lieu d’installation des témoignage de la domination de l’homme sur celle-ci, dans salles d’exposition temporaires. Après leur démolition à la un contexte international. fermeture de la première grande exposition, la zone fut redessinée pour devenir un parc public. La conception en

25 Plus de 50 expositions se sont tenues entre 1851 et 1915, Heritage Victoria, régie par le conseil du patrimoine de chacune différente et partageant pourtant toutes des thèmes Victoria (Heritage Council of Victoria) et nommée par le et des buts communs – cartographier les progrès matériels gouvernement d’État. et moraux dans un contexte mondial, en présentant l’industrie de toutes les nations. Parmi les lieux Le palais royal des expositions et les jardins Carlton sont d’exposition : Paris, New York, Vienne, Calcutta, classés au Registre du patrimoine national du Kingston en Jamaïque et Santiago du Chili. La plupart des gouvernement du Commonwealth. Ce classement n’assure villes firent construire spécialement des « palais » des pas de contrôles juridiques directs, mais les autorités expositions, souvent à partir de composants métalliques doivent alerter la Commission du patrimoine australien des poussant la technologie de l’époque dans ses derniers actions susceptibles d’affecter de façon notable les valeurs retranchements. des lieux inscrits au Registre. Les bâtiments et les jardins sont également classés au Registre du patrimoine de Dans les années 1870, la disposition générale était établie Victoria, ce qui signifie que les sites classés doivent être avec ses ensembles de dômes, de pavillons nationaux et de soumis à l’autorisation de Heritage Victoria avant que des plates-formes panoramiques entourant un « palais de travaux puissent y être entrepris. l’Industrie », tous installés dans des jardins paysagers. Et un réseau de contacts a été instauré avec des La ville de Melbourne est responsable des zones de « commissaires » observant et suggérant des améliorations protection du patrimoine (Heritage Overlay Zones), qui pour l’événement suivant. forment une partie essentielle de la planification de contrôle du développement. Ces zones régissent les Vers les années 1900, le ralentissement des économies questions comme le gros œuvre et la masse des nouveaux nationales, alors même que, les peuples réalisaient que développements, leur hauteur, la conservation de la l’industrie n’améliorait pas forcément la qualité de la vie, a structure, les couleurs et les matériaux de construction à conduit à une désaffection pour les expositions choisir. universelles en dehors des États-Unis. Le site proposé pour inscription est soumis à deux niveaux Le palais royal des expositions de Melbourne est donc un de législation du patrimoine, qui se chevauchent. Si le site exemple du mouvement à son apogée. Il n’est pas né de était inscrit, le gouvernement du Commonwealth nulle part : un premier petit bâtiment d’exposition avait été avaliserait les zones de protection du patrimoine (Heritage construit en 1854, et d’autres avaient suivi, à plus grande Overlay Zones) comme zone tampon du site – mais la échelle, habituellement des précurseurs des expositions procédure qui serait utilisée n’est pas précisée ni l’étendue internationales ailleurs. Les deux expositions de la zone dans laquelle s’inscrirait le site du patrimoine internationales de 1880 et de 1888 ont eu lieu à un moment mondial et si elle coïnciderait avec la zone de protection où Melbourne était en plein essor. du patrimoine (Heritage Overlay Zone).

Contrairement à bon nombre de bâtiments d’expositions, le Le dossier de proposition d’inscription indique qu’aucune bâtiment de Melbourne a toujours survécu sur sa parcelle zone tampon formelle n’est envisagée, la zone de d’origine et entouré de jardins. Toutefois, le complexe et protection du patrimoine (Heritage Overlay Zone) étant les jardins ont subi des changements non négligeables. Les suffisante. Toutefois, le site est délimité au sud par le annexes est et ouest du bâtiment d’exposition ont été quartier central des affaires, qui comporte peu de bâtiments démolies dans les années 1960 et 1970 (l’une des salles inscrits sur la Liste du patrimoine. En outre, la disposition étant reconstruite hors site comme musée du tramway). Le axiale du devant du bâtiment, au sud du Parlement, doit dernier changement majeur concerne le bâtiment du être définie et renforcée. Il semblerait qu’il y ait besoin nouveau musée de Melbourne, dans le jardin nord. d’une meilleure protection que celle qu’offre actuellement la zone de protection du patrimoine (Heritage Overlay Depuis sa construction, le bâtiment a été utilisé à divers Zone). escients : pour les expositions jusqu’en 1901, comme aile du Parlement jusqu’en 1919, époque à laquelle il a été Structure de la gestion : utilisé comme hôpital pendant la Première Guerre mondiale. Entre cette date et 1975, il a servi d’entrepôts, La responsabilité globale du palais royal des expositions de bureaux, de logements pour les troupes et de salle de incombe au conseil des musées de Victoria (Museums bal. Le bâtiment a pris sa nouvelle orientation en 1975, Board Victoria), avec une gestion courante déléguée à la lorsqu’il a été officiellement classé au registre du division du musée de Melbourne, et plus spécifiquement Patrimoine national. au Directeur.

L’adjectif Royal a été adjoint au bâtiment en 1980. La municipalité de Melbourne a été nommée comme Comité de gestion des jardins Carlton. Le groupe des parcs et des loisirs (Parks and Recreation Group) de la ville de Politique de gestion Melbourne assume directement les rôles de gestion de la planification. Quant à la maintenance courante, elle est Dispositions juridiques : confiée à des entreprises privées.

L’Australie possède une législation à trois niveaux : au Ressources : niveau du Commonwealth (national), de l’État (provincial) et au niveau local. Dans l’État de Victoria, le patrimoine Les opérations de gestion courantes du palais royal des est essentiellement géré au niveau de l’État, par la division expositions sont financées par ses recettes commerciales,

26 l’usage de l’édifice comme espace d’exposition générant peinture extérieure. Tout le travail a été entrepris en effet des revenus suffisants pour assurer sa stabilité conformément à la Charte de Burra d’ICOMOS Australie. financière. Le musée Victoria fournit un budget pour l’interprétation du site. Quant au gouvernement de l’État Le dossier de proposition d’inscription ne détaille aucun de Victoria, il apporte les fonds destinés aux travaux historique de conservation pour les jardins. d’investissement. État de conservation : La ville de Melbourne finance la gestion, la maintenance et les travaux d’investissement des jardins Carlton. Des travaux de restauration importants qui ont été entrepris sur plusieurs années ont laissé le palais royal des Le personnel du site dans son ensemble (y compris le expositions en excellent état de conservation et de nouveau musée) a de l’expérience dans les pratiques de réparation. conservation architecturale, ainsi que dans la recherche et la conservation. Des consultants donnent des conseils Dans l’ensemble, les jardins semblent bien entretenus. Le spécialisés en conservation architecturale pour le palais projet de plan de conservation indique que le couvert des royal des expositions, des architectes paysagers, des arbres dans les jardins est en assez bon état et mentionne arboriculteurs, des conservateurs et des gestionnaires de la que les massifs d’arbustes ont trop poussé ou sont abîmés conservation pour les jardins Carlton. et exigent des soins.

Gestion : Justification émanant de l’État partie (résumé) Deux plans de gestion distincts ont été élaborés pour le Le palais royal des expositions possède une valeur site, l’un pour le palais royal des expositions et un universelle exceptionnelle pour les qualités suivantes : deuxième (un plan de gestion de conservation encore en projet) pour les jardins Carlton. Un plan directeur est en • Il est l’un des rares survivants du phénomène des cours de développement pour les jardins, il devrait être expositions internationales ; achevé fin 2003. Il comprendra le plan de gestion de la conservation. Les deux plans suivent les principes de la • Il est le seul grand hall subsistant du « palais de Charte de Burra. l’industrie », l’élément central des expositions internationales ; La production du plan des jardins doit s’accompagner d’un débat sur la forme future des diverses zones du jardin, • Les bâtiments et les jardins sont largement étant donné l’impact du réchauffement de la planète et la représentatifs de thèmes et de caractéristiques nécessité de gestion des ressources d’eau dans architecturales que partagent d’autres structures et l’hémisphère sud. Au moment de la soumission du dossier, d’autres sites ; aucune conclusion définitive n’avait été atteinte sur les questions de la plantation ou du remplacement des arbres • Les bâtiments et les jardins sont uniques en ce qu’ils dans les jardins et, en particulier, quant à la question de ont maintenu une authenticité de forme et de savoir s’il convient de remplacer certaines plantes fonction ; exotiques par des espèces locales.

• Les expositions étaient une vitrine pour la révolution Les plans reflètent les différentes autorités de gestion pour industrielle qui façonna quelques-unes des plus le palais royal des expositions et les jardins Carlton. Le grandes transformations socio-économiques musée de Melbourne est responsable du bâtiment mondiales. d’exposition et la section Parks and Recreation de la ville de Melbourne des jardins.

3. ÉVALUATION DE L’ICOMOS Quoique l’on comprenne qu’il existe une bonne relation de travail informelle entre les deux institutions, il serait Actions de l’ICOMOS préférable qu’il puisse y avoir une autorité de gestion globale et intégrée composée des représentants des deux Une mission d’expertise de l’ICOMOS s’est rendue sur le institutions. Un tel organisme pourrait développer des site en septembre 2003. pratiques de gestion durables à long terme pour les édifices et pour les jardins, ensemble. Les discussions pendant la mission semblent aller dans le sens de ce principe. Conservation Analyse des risques : Historique de la conservation : Les éléments suivants sont mis en avant dans le dossier de Le palais royal des expositions a fait l’objet d’un projet de proposition d’inscription : restauration majeur en 1995, durant laquelle les finitions du décor intérieur ont été rendues à leur forme de 1901. - Pressions de développement : Avant cela, dans les années 1980, un programme a été entrepris pour actualiser les services. D’autres travaux de On indique qu’il n’y a aucune grande pression de conservation ont été entrepris en 1999-2001 pour réparer développement dans les jardins, la zone ne pouvant être les façades, les fenêtres, les portes, le toit à l’est et la vendue sans une loi parlementaire. Toutefois, un

27 développement notable a déjà eu lieu avec le bâtiment du parterres au sud) et, qui plus est, une grande partie du nouveau musée de Melbourne, qui couvre plus de la moitié jardin nord, est occupé par le nouveau musée de du jardin nord. Melbourne. Ce grand bâtiment neuf, situé très visiblement derrière le palais royal des expositions, est l’un des aspects - Pressions environnementales : problématiques de la proposition d’inscription.

Il est indiqué que la pollution de l’air n’est pas un Ce nouvel édifice se trouve à la place des bâtiments problème pour les structures des bâtiments et les plantes. d’expositions temporaires, qui n’étaient pas conçus pour durer au-delà des expositions, tandis que le grand hall était - Catastrophes naturelles : considéré comme une structure permanente. On prévoyait toutefois de dessiner les espaces comme un décor pour la Le plus grand risque identifié est l’incendie, le principal structure permanente dès le démontage des bâtiments matériau de construction du bâtiment étant le bois. Pour temporaires, une intention qui fut respectée. minimiser ce risque, un système d’arrosage complet a été installé et une liaison directe établie avec la caserne des Si le site avait été inscrit il y a quelques années, il aurait pompiers. été difficile de justifier une intervention de cette ampleur. Du côté positif, on pourrait avancer que le nouveau musée - Pressions des visiteurs / du tourisme : ajoute à la vitalité du site. Toutefois, en termes d’authenticité, le nouvel édifice s’écarte du cadre du palais Bien que le nouveau musée de Melbourne attire plus de royal des expositions et a détruit une partie du jardin nord. 800 000 visiteurs par an, ce chiffre n’est pas jugé préjudiciable au palais royal des expositions ou aux Intégrité : jardins. La plus grande pression sur les jardins vient de l’exposition florale annuelle – il est indiqué que les Tout aussi important, le nouveau bâtiment nuit à l’intégrité dommages dus à celle-ci sont réparés immédiatement. du site. Si la valeur du site est liée à la façon dont la disposition de Melbourne reflète la « forme » générale des expositions autour du monde, une partie de celle-ci a sans Authenticité et intégrité : conteste été perdue avec le bâtiment du nouveau grand musée. Authenticité :

L’une des principales questions liées à ce site est celle de Évaluation comparative son authenticité. Il est mis en avant comme un site exemplaire, représentant le grand mouvement des La grande question est de savoir si le palais royal des expositions universelles. Il n’est pas suggéré que le palais expositions et les jardins associés sont exceptionnels de royal des expositions est le plus beau des grands halls par la façon dont ils représentent le mouvement des d’exposition construits pendant les 50 années et quelques grandes expositions. Le débat consiste à savoir s’ils qu’a durée cette vogue, mais plutôt qu’il est représentatif forment un témoignage essentiel du mouvement et dans du genre, l’un des rares à avoir subsisté, le seul restant à quelle mesure leur forme demeure intacte. Il faut avoir été construit pour exposer des produits industriels, et également considérer si ce qui subsiste illustre bien les le seul à être toujours utilisé comme un hall et toujours objectifs du mouvement des expositions universelles. relié à son environnement. Le mouvement des expositions universelles a épousé En termes d’authenticité, il convient de considérer l’innovation et le changement : des expositions ont été l’ensemble du hall (utilisé pour exposer des produits mises sur pied pour présenter les compétences, l’art et les industriels), l’intérieur et son décor et le parc environnant. nouvelles limites de la technologie. Dans bon nombre des expositions, les structures des bâtiments eux-mêmes Le palais royal des expositions est demeuré relativement faisaient partie de l’exposition, poussant les nouvelles inchangé dans son tissu. Deux petites ailes ont été technologies dans leurs derniers retranchements. À démolies dans les années 1950 et 1960. Ce qui a été perdu Londres, le Crystal Palace était l’une des plus grandes – ou recouvert – est la décoration intérieure reliée à la structures de fonte et de verre jamais assemblées, la tour période des grandes expositions. Il est entendu qu’une Eiffel à Paris l’une des plus hautes structures de fonte : grande partie du second projet survit, quoiqu’il ait été tous deux ont été construits pour présenter les progrès de la repeint. Toutefois, il a été décidé de restaurer le troisième technologie. Mais le palais royal des expositions était plus projet, sans rapport avec le mouvement des expositions prudent dans son approche. La construction, universelles, mais associé celui-ci à l’ouverture du premier essentiellement faite de briques et de bois, n’était pas en Parlement australien, un évènement d’une importance elle-même novatrice. L’architecture est plaisante, mais n’a nationale. On a également perdu, à l’intérieur, le grand rien de remarquable, et elle suit des tendances plutôt orgue qu’abritait l’une des ailes et les passerelles, quoique qu’elle ne les lance. l’on envisage de les reconstruire. Les expositions universelles visaient à être novatrices et à Dans les jardins, on ne peut pas dire qu’il existe donner du sens à la modernité. Elles présentaient des actuellement une restauration complète du projet décoratif inventions et des réussites technologiques, et célébraient la de la période des expositions universelles. Beaucoup de diversité et l’industrie. Elles montraient aussi la capacité détails ont été perdus (tels que les clôtures à claire-voie en de l’homme à comprendre la portée et la variété des fonte), certains détails n’ont pas survécu (par exemple les ressources mondiales – qu’elles soient naturelles ou

28 fabriquées de la main de l’homme – en les classant au sein en tant qu’exemple du mouvement des expositions de systèmes. Dans bien des cas, les grands bâtiments universelles en Australie ou comme ayant été notamment d’exposition étaient ensuite utilisés pour établir des musées déterminant dans la création d’une réponse aux idéaux du de la technologie ou des arts – et cet objectif était intégré mouvement des expositions grâce à l’échange d’idées dans aux buts de l’exposition. Ainsi, les expositions voyaient une région éloignée des principaux centres de la révolution leur objet premier reporté au-delà de leur fermeture. industrielle. Mais ces aspects ne sont pas analysés dans le dossier de proposition d’inscription. Le palais royal des expositions fut utilisé après la deuxième exposition comme espace d’exposition avant de devenir une partie du Parlement, en 1901. Ce n’est que Recommandation concernant l’inscription dans les dix dernières années, environ, qu’il est redevenu un centre d’exposition. Que l’examen de la proposition d’inscription soit différé afin de permettre à l’État partie d’analyser plus en avant Ce dossier de proposition d’inscription analyse les grands les valeurs culturelles de l’ensemble du site, de considérer bâtiments d’exposition subsistants. Quoiqu’un nombre sous un autre angle la valeur universelle exceptionnelle considérable survivent, tels que la tour Eiffel, le Petit et le potentielle du site et de traiter les questions d’authenticité Grand Palais à Paris, le Glasgow Fine Arts Building, le et d’intégrité. Ceci permettrait d’entreprendre des Memorial Hall à Philadelphie, le Palace of Fine Arts à recherches qui pourraient comprendre : Chicago, et le Palace of Fine Arts de St Louis, aucune de ces structures n’a été construite comme un hall - Une analyse comparative des ensembles d’exposition d’exposition industrielle. [Depuis la rédaction du dossier existants, de leurs caractéristiques, de leur importance de proposition d’inscription, le complexe de Santiago du et de leur influence en termes d’échanges d’idées Chili a été identifié, et d’autres informations à ce sujet ont liées à l’innovation technologique et au changement. été recherchées.] - L’authenticité et l’intégrité des jardins Carlton en tant Hormis la Tour Eiffel, tous étaient utilisés comme lieu que partie de l’ensemble du site de l’exposition. d’exposition pour les beaux-arts. Si l’on part du principe que le grand hall d’exposition industrielle était l’axe directeur des expositions universelles, le seul site à avoir conservé son bâtiment est celui de Melbourne. Toutefois, ICOMOS, mars 2004 si l’on cherche des bâtiments représentatifs du mouvement des expositions universelles et de ses idéaux, d’autres candidats existent.

Valeur universelle exceptionnelle

Évaluation des critères :

Le site est proposé pour inscription sur la base des critères ii, iv et vi.

4. RECOMMANDATIONS DE L’ICOMOS

Recommandations pour le futur

Il n’y a aucun doute sur le fait que ce site est d’une importance nationale, et d’une grande valeur pour la population de l’État de Victoria. La façon dont il est entretenu reflète la valeur qu’on lui accorde. Il est toutefois plus difficile de justifier sa valeur universelle exceptionnelle.

L’association du complexe avec le mouvement des expositions universelles est très forte, de même que la valeur que lui confère sa rareté est grande. Cependant, l’intégrité du site a été compromise par la construction d’un nouveau grand musée. En deuxième lieu, on ne peut pas dire que la qualité du bâtiment des expositions reflète la grande qualité du mouvement des expositions, non plus que ses idéaux.

L’édifice pourrait éventuellement être considéré comme une réponse particulière de l’Australie au mouvement des expositions universelles, ou comme ayant de l’importance

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