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DESIGN

COMM2411 ASSESSMENT3 TEAMLEPRECHAUNFEATURES


MELBOURNE LOGO


City logos often turn out shallow, idealistic and cliché.

20 major developed countries placed

in Melbourne’s laneways. Viewed

Melbourne in 15th place, curiously

from afar a rich textured exterior can

Sydney placed second after Paris,

be seen, when viewed up close the

among other cites such as London,

delicate interior comes to life, they all

Rome and New York. These cities

connect within each other and form

all work remarkably strong brands

a complete sense of harmony, this is

of which we can all immediately

Melbourne. No doubt the new logo

recognise. In 15th place it was

has in someway been influenced by

questioned whether Melbourne was

Federation Square, and after all does

working a global identity effectively.

seem to be a fair depiction of the city’s architecture as a whole.

City logos often turn out shallow,

In 2009 Melbourne launched its new corporate identity, causing much controversy as many believed it was a financial and unnecessary venture. The City of Melbourne justified its decision to re-brand the city on their website, explaining that the existing branding had become out-dated,

idealistic and cliché. Communicating

The intricate laneways of Melbourne

simple minded values into visual form

can be interpreted in the new logo

are generally not very effective nor

through the many intersecting

successful for cities. If we look deeper

geometrical shapes. The new

beyond face value, (as Melbourne

Melbourne logo is potentially a

is said to look better up close), the

little too complicated, perhaps we

Melbourne logo could potentially

are reaching a point where design

be future proof and an accurate

is becoming too metaphorical and

representation of the city.

symbolic for the average person to align with. The old Melbourne logo

In the Mathematical Tourist article

didn’t beat around the bush, and as

on Federation Square, it is clearly

a result remained in use for a lengthy

demonstrated how deeply intricate this

period of time. But in respect to the

piece of architecture is as a likeness

new Melbourne logo the city is future

of Melbourne’s multi-layered cultured

driven, cultured and distinctly complex

complexity. Federation Square’s

which has been well presented in

many layers of precisely calculated

the logos current state, but will the

which represents Melbourne globally.

geometrical shapes are the perfect

complex ‘M’ enjoy a similar life to its

portrayal of the city. Melbourne was

predecessor? Only time will tell.

In 2009 Melbourne’s need to remain

a carefully planned out city and its

and over all Melbourne lacked a global identity and needed a stronger presence on the world stage. With its contemporary and environmentally influenced colour palette, this new logo takes into account the ever changing fashion and arts culture

competitive as a city was recognised, which justified the need for a new ‘city branding’. A survey conducted in

structure allowed people to then start connecting the lines in-between the dots as the years progressed, resulting


A sample of each day will always be left behind

The city’s structured grid system

continue developing it’s history and

has allowed a wonderful urban

changes in the same manner as

environment amongst the lanes to

art movements do.

flourish, building upon Melbournes young history these lanes are ever

The Melbourne city grid is clean,

changing with fashion and fads

ordered and easily accessible due to

which come and go. They form

it’s linear flawless design. Up close and

a very intimate connection which

personal is a different story altogether,

Melburnians speak highly of.

the labyrinth of intersecting spaces reflected in the fragmented Melbourne

The walls, shops and people that

city logo is a great example of the

make these laneways leave a record

interchanging cultures that is present

of everyday occurrences, a sample of

in the laneways.

each day will always be left behind Melbourne laneways are one of the city’s best kept secrets. Recently these laneways have become more public and are becoming iconic features of the city. There are over 180 of these laneways in Melbourne, they are narrow alcoves that hide away from the mainstream and depict a laid back cultured environment, each laneway is unique containing tiny cafe’s, hidden bars, unique boutiques, galleries and a

whether its graffiti on walls, worn shop

Melbourne prides itself on this

signs, freshly painted window frames

laneway culture, often citing it as a

or the everyday wear and tear of the

demonstration of Melbourne being

bricks and stones that line the lanes

an incredibly diverse and unique place

and alleys. The laneways have become

to live, work and play. Whether or

a very important part of Urban youth

not this is a justifiable argument is

culture and the way the city is viewed

irrelevant, as over time these many

from not only an arts perspective,

laneways with their secret bars and

but a city filled with opportunity for

quirky fashion boutique stores have

everyone from all walks of life.

become a historical part of the city, and will remain seen that way by

youth fuelled culture of street art.

These artistic spaces showcase a lot

The recent “lose yourself” campaign

of cosmo-multiculturilsm, but only

encouraged tourists to discover these dream like laneways that are often described as a taste of Europe in Melbourne. The laneways also form an essential aspect of urban identity, recognised through street art culture as a tribute to design.

for consumption and there is a view to those who wish to see it that way. Contemporary installation art spaces, such as the city square, are parallel with the nature of the laneways as they grow, develop, change and continue to build history and multicultural values. Melbourne will

Melburnians and tourists alike.


LANEWAYS


FASHION BOUTIQUES


boutiques, which target a different

modern with an environmental feel,

audience; one that wants a taste of

supported by the organic greens and

that splendour, but can’t necessarily

blues that the logo consists of.

afford it.

It gives a sense of grandeur to retail

The quirky, alternative nature of the fashion boutique’s hidden in Melbourne’s laneways express the ever-changing style and concrete characteristics of this cultured city. The design of these stores and their

The location of these boutique stores Designers are vital to this industry.

are fundamental in the creation of

Boutique fashion wouldn’t be

the exclusive atmosphere associated

‘boutique’ without the influence

with these businesses, the majority of

of art and design in the creation

the stores are found in Melbourne’s

of the garments, not to mention

laneways. These intriguing labyrinths

construction of the spaces from which

weave in and out of the city’s grid

these garments are exhibited and

structure and the customer will embark

sold. Similar to the ‘Edible Garden’s’

on journey to the boutiques. Often

temporary exhibition in Melbourne’s

these stores are quite difficult to find

City Square, fashion changes with

without the direction of someone

each season. Plants have a specific

who’s actually been there, so the

window each year where they will

satisfaction of a customers purchase

flourish and be high on demand to

is enhanced by the pleasure of their

targeted consumers. Fashion mimics

inclusion in the hidden culture.

botany’s seasonal highs and lows and these changes are reflective of the

Melbourne is known and sought after

design style in the city at each stage of

for its laneways, the city acts as if they

the year. Summer will bring brighter,

are an accidental social phenomenon,

and design.

explosive colour palettes in contrast

when in reality they are more like

to winter’s monochromatic blacks and

appropriations of other cultures;

The department stores of Melbourne

other complementing neutrals.

deliberately pruned and expanded in

methods of advertising, separate them from the mainstream chains and connect them to the societies of art

cater for all of society, as approved fashion boutiques are a special and privileged outlet for a higher class of society. This would appeal to them because it gives a sense of grandeur to retail, something out of the normal that isn’t accessible to your average city shopper. The expensive stores are accompanied by more affordable

order to display boutiques and culinary Melbourne is an ideal setting for

exhibitions, which admittedly, are very

fashion boutiques; the supportive

exciting to pursue.

advertising throughout the city itself provides an appropriate atmosphere for the patronage of this specific target market. The logo representing Melbourne is reflective of a designer influence in this city; it’s edgy and


Melbourne takes full advantage of these public spaces The ‘metlink’ edible garden, is a temporary exhibition that educates the wider community about local produce. Located in the centre of the city, this exhibition spreads design from the heart of Melbourne through its

This illustrates how different cities

events and stadiums. These arenas

use public spaces and how it makes

are constantly being redesigned and

them different from one other. Public

reconstructed, it shows that this city

spaces are used to benefit the whole

is constantly evolving. The Melbourne

community and should be done so

logo is evidence of this modern

accordingly. Melbourne takes full

adaption of the city, with it’s strong

advantage of these public spaces and

affiliation to design and architecture

diversely uses them to educate

it is now much more symbolic of

the broader community or to even

Melbournes character compared to the

create a broader understanding by

previous outdated city logo.

using the art installations themselves. The Metlink Edible Garden was

Throughout the years Melbourne has

installed to show and inspire people

blended cultures and ingredients to

how to grow their own produce. This

gain a label and association with the

culinary creation is also supportive

best of available cuisine. Melbourne

of Melbournes exceptional talent in

has a reputation for high quality

producing fine foods and is home to

produce which is supported by the

some of the best chefs and restaurants

Melbourne Food and Wine Festival,

Australia has to offer.

where the key goal is to promote real and delicious produce. Melburnians

As Melbourne is a multicultural

love exploring in the kitchen especially

city, it is a popular tourist spot for

with such easy access to fresh produce

international visitors, for example,

at the Victoria Markets, and the recent

Melbourne’s graffiti scene has been

attention the culinary world is receiving

attracting visitors from around the

in the media this has become a pivotal

educational environment.

globe to visit our laneways and

component in Melbourne’s lifestyle and

urban artwork. The same can be said

image. Although this city is constantly

Melbourne uses the installation art

about temporary art installations.

developing we still respect the roots

There is always something on show

in which our food comes from whilst

and has now become a given and

exploring new methods as well. The

a much anticipated event for the

Edible Garden promotes this high

next installation to pop up in the city

quality produce that we use whilst also

square. Just as Melbournes art culture

reinforcing Victoria’s lifestyle as the

is viewed all over the world the same

food and wine capital of Australia.

interactive features. The edible garden allows the people of the city to get in touch with their inner gardener and support Melbournes contemporary art installation designs in a delicious,

element to improve and give the city an artistic and creative image as well as being an art driven culture. Compared to other cities, Melbourne uses them to appreciate and show off the multicultural creativity, ultimately branding the city the way it is today.

can be said for Melbournes sporting


EDIBLE GARDEN INSTALLATION


REFERENCELIST MELBOURNE LOGO Morris, B., Verhoeven, D., 2004, ‘Performing Urban Rivalry : the Cultural Politics of First and Second Cities’ The Passionate City: An International Symposium, eds. Morris and Verhoeven, Melbourne: RMIT Publishing. Hammer, J., September 2006, From Fractal Geometry to Fractured Architecture: the Federation Square of Melbourne. Mathematical Intelligencer, Heidelberg, Vol. 28, Iss. 4; pp. 44-48. Donald, S.H, Gammack, J.G., 2007, Branding the City’ in Tourism and the Branded Economy: Film and Identity on the Pacific Rim, Hampshire, Ashgate, pp. 45-61. LANEWAYS Hewett, A., 2010, Lanes of Melbourne, Only Melbourne, Viewed on 20th May 2010 >http://www.onlymelbourne.com.au/melbourne_details.php?id=9408< That’s Melbourne City, 2009, Laneways and Arcades, Viewed on 20th May 2010 >http://www.thatsmelbourne.com.au/Placestogo/LanewaysandArcades/Pages/LanewaysandArcades.aspx< Webster, A., 2004, What’s in a street name?, The Age, Viewed on 20th may 2010 > http://www.theage.com.au/articles/2004/02/18/1077072711141.html< Fung, P. ,2006, ‘The seduction of the laneways: making Melbourne a “world city”’, Crossings Viewed on 20th May 2010, >http://www.inasa.org/crossings/11_2/index.php?apply=fung< Morris, B., Verhoeven, D., 2004, ‘Performing Urban Rivalry: the Cultural Politics of First and Second Cities’ in The Passionate City: an International Symposium, eds. Morris and Verhoeven, Melbourne: RMIT Publishing. Hammer, J., 2006, From Fractal Geometry to Fractured Architecture: the Federation Square of Melbourne. Mathematical Intelligencer, Heidelberg, Vol. 28, Iss. 4; pp. 44-48. Letterbox, 2010, Letterbox Homepage, Viewed on 20th May 2010 >http://www.letterbox.net.au/< FASHION BOUTIQUES Loreal Melbourne Fashion Festival, 2010, Loreal Melbourne Fashion Festival: Home Page, Viewed on 18th April, 2010, >http://www.lmff.com.au/< Choi, Y., 2000, ‘Understanding ICT Adoption from the SME User РCentered Perspective: Veiws from the Boutique Fashion SMEs & the Australian Goverment, Faculty of Business, RMIT University, Veiwed 18th April 2010, >http://www.ucd.smartinternet.com.au/ucdproject/Docs/ICTadoptionfromSMEUser.pdf< Fung, P. ,2006, ‘The seduction of the laneways: making Melbourne a “world city”’, Crossings Viewed on 20th May 2010, >http://www.inasa.org/crossings/11_2/index.php?apply=fung< EDIBLE GARDEN INSTALLATION Müge, A., 2005, Urban Design International, Macmillan, London, Vol. 10, Iss. 2; p. 95. O’Hanlon, S., 2009, Urban History Review, Urban Policy and Research, Toronto, Vol. 37, Iss 2; pp. 30-41. Coote, M., 2003,The Melbourne Book - A History of Now, Melbourne, Hardie Grant Books, p. 163.

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