Global Foundations of Design- illustrated essay

Jarel Cheah 998651

Former ES&A Bank

Aesthetic & Symbolic Functions:

Introduction & Historical Context:

The bank, located on the corner of the street, incorporates a distinct Venetian Gothic form. The history of Gothic cathedrals started out as a symbolic representation of cities with wealth, knowledge and power. The city of Venice in Italy saw the rise of Gothic architecture along with a period of rapid economic growth, causing an expansion in trade and population. The implementation of this style on the building can be attributed to a similar circumstance Melbourne faced-

The ES&A Bank was built during the period of extreme prosperity of Melbourne due to the Gold Rush. It was commissioned by the bank’s then general manger, Sir George Verdon and was completed in 1887. He wanted to revitalise the monotonous street and provide a landmark that represents Melbourne. William Wardell- an architect who specialised in designing cathedrals, won the competition to design the building. The building is set to be the first Gothic revival in Melbourne, and one of the most lavishly decorated at the time of completion.

Figure 3. Side facade, ES&A Bank.

Figure 1. ES&A Bank on the corner of Queen Street and Collins street.

Planning, Construction & Materials:

Figure 2.Dining room in Verdon Chambers.

Initial calculation of the cost had to be increased almost immediately as William Wardell had underestimated the depth of the foundations that needed for the building to be built. The changes to the original designs made also did not help in saving cost. By the time construction is completed, the total cost has risen twice the amount of the estimated figure.

The exterior of the building is made of Pyrmont sandstone, from Sydney, this material is used commonly in classical buildings throughout Australia. This gave the exteriors a yellow finish instead of white preferred

Former Stock Exchange

Guest room

Sewing Room

Corridors

Billiard Room

Bedroom & Dressing Room

Figure 4. ES&A Bank Plan, second floor.

Architectural Style & Features A series of windows on the ground floor and first floor have carvings of plate traceries prevalent in Early Gothic Architecture, featuring tall, arched lights stacked on top, with a cinquefoil oculus placed above them. No stained-glass windows are utilised unlike Gothic cathedrals.

A turret is placed on the corner of the building to separate the two sides, sporting a spire at the top.

This feature is not commonly seen in Gothic architecture and is an adaptation to the building.

Jarel Cheah 998651

Spire

Triforium Oculus

Arch

Turret

Capitals

Plate tracery

Columns

Figure 5. Elevation sketch of Front facade.

The building more than compensates for its weightless exteriors with rich decorations in the banking chamber.

Upon entering, sculpted foliage decorates a recessed area above the entryway, with the ES&A Bank’s emblems adorned on the lintel. These replace the much more intricate tympanum seen on Gothic cathedrals. A beamed ceiling structure is employed on the building, similar to secular Venetian Gothic buildings. The difference in ceiling structures used between secular and ecclesiastical buildings is said to be due to the differing opinion on the safety of vaulted ceilings. One of the most noticeable feature inside is the decorations used on the beamed ceiling. Emblems from the lintel can be seen replicated in each of the squares formed by the beam structure.

Figure 7. Column details in banking chamber (sketch).

Like Gothic cathedrals, pointed arches feature heavily in this rectilinear building. Externally, arches can be seen on the windows, triforium and entrance. The side façade has a triforium that forms a pointed arch and creates a loggia on both the upper levels. The style of the loggia seems like a visual reproduction of the loggia seen in the Doge Palace in Venice. In the banking chamber, flying arches spring out from rows of columns. The columns feature foliage capitals seen in some cathedrals, and are placed evenly across the rectilinear space, resembling the arcades featured in the nave of Gothic ecclesiastical buildings.

Figure 6. Banking Chamber.

The interior frieze is also illuminated by intricate gold ornamentation, providing a luxurious finish in the interiors resembling the Palazzo Ducale. The intricate decoration is replicated throughout the walls and ceilings on the second and third floors and in the Verdon Chambers. In figure 2, the lavish dining room can be seen adjacent to the loggia on the side façade. Overall, the intricate style is implemented consistently throughout the interiors, like how the foliage sculpture is used on the entryway and the capitals, and in the Verdon Chambers, the intricate patterning changes slightly.

Figure 8. Emblems on the ceiling of banking chamber.