Arts Centre Melbourne - History

History

The Arts Centre site has long been associated with arts and entertainment and has previously been home to circus, theatre, roller and ice skating, cinema and dance.

After World War II it was decided that Melbourne needed a cultural centre. After many years of discussion, a master plan was approved in 1960, with Sir Roy Grounds as the chosen architect.

During the ensuing years, and to accommodate difficulties associated with the geology of the site, changes to the original plans were made and eventually the Arts Centre emerged as two buildings – now known as the Theatres Building and Hamer Hall.

Responsibility for the project lay with the Building Committee, established in 1956 was chaired by Kenneth Myer from 1965 to 1989. For twenty five years this committee was a consistent force in the completion of the complex. Actor and film director, George Fairfax, having joined the project in 1972, was appointed the first General Manager of the Building Committee and then the Trust, a position he held until 1989. As a result Fairfax played an influential role in administration of the Arts Centre’s development.

Work had begun on the theatre site in 1973, with excavation work not completed until 1977/8, two years later than expected, and on the concert hall site in 1976. During the first phase of the construction responsibility for the project was with Rupert Hamer as Minister of the Arts (and Premier) from 1972–1979 and during the final phase with Norman Lacy as Minister for the Arts (and Minister of Educational Services) from 1979–1982.

Academy Award-winning expatriate set designer, John Truscott, was employed to decorate the interiors. His work was constrained only by a requirement to leave elements already constructed, such as Ground's faceted cave Concert Hall interior, to which he applied jewelled finishes, and his steel mesh draped ceiling in the State Theatre, to which he added perforated brass balls.

During his tenure, Norman Lacy was constantly called on to defend the Victorian Arts Centre Trust and its construction program during some highly charged public debates in the Parliament. He had to defend the acoustics, the design of the spire, the rejection of the proposed changes to the Concert Hall interiors, the BASS ticketing system of the project, as well as its delays and cost over runs.

The Victorian Arts Centre’s management and administration was set up under the Victorian Arts Centre Act 1979 introduced into the Victorian Parliament by Norman Lacy. The trustees were appointed by the Governor in Council, on the recommendation of the Minister. The Trust was given responsibility for the operation and programming of the publicly owned performing arts spaces that make up the Victorian Arts Centre – the Theatres Building beneath the Spire, Hamer Hall and the Sidney Myer Music Bowl.

Soon after the legisation to establish the Trust was passed, Norman Lacy and George Fairfax undertook a study trip to North America and Europe to assess administrative arrangements, educational programs and community initiatives at major performing arts centres in Los Angeles, San Francisco, New York, Washington, Toronto, Ottawa, London and Paris. The result was the development of the Arts Centre management structure during 1981 and a suite of opening and on-going initiatives.

The Concert Hall opened in November 1982, while substantial work remained to be done on the Theatres site. The rest of the Arts Centre was opened progressively in 1984, with the Theatres building officially opened in October that year. This signified the completion of one of the largest public works projects in Victorian history, which had been undertaken over a period of almost twenty five years.

The Arts Centre is unusual in that its theatres and concert hall are built largely underground. Hamer Hall, situated closest to the river, was initially planned to be almost entirely underground, thus providing a huge open vista between the theatre spire, the river and Flinders Street Station. However, construction problems with the foundations, including water seepage, meant the structure had to be raised to three storeys above ground.

Similarly, budget constraints meant that Grounds' design for the Theatres Building, which included a copper-clad spire, were shelved, and a shortened un-clad design was substituted. This was eventually replaced with the current 'full-height' un-clad spire.