Australian War Memorial, Campbell and Mitchell, ACT
Indigenous Cultural Heritage Assessment
March 2008
Navin Officer
heritage consultants Pty Ltd
acn: 092 901 605
Number 4
Kingston Warehouse 71 Leichhardt St.
Kingston ACT 2604
A Report to Godden Mackay Logan (GML) for the Australian War Memorial
ph 02 6282 9415
fx 02 6282 9416
EXECUTIVE SUMMARY
Identify Aboriginal heritage within the study areas;
Assess the significance of Aboriginal heritage sites within the study areas;
Identify those sites that warrant permanent conservation and are a permanent constraint to disturbance within the study areas;
Identify areas where further information is required to make an assessment on the heritage value of a site; and
Provide management recommendations to achieve protection for those sites that warrant it.
No Aboriginal sites have been previously identified within the study areas;
No Aboriginal sites or areas of archaeological potential/sensitivity were identified in the Australian War Memorial Mitchell Precinct study area in the course of the current investigation. There are no indigenous heritage assets or constraints relating to the Australian War Memorial Mitchell Precinct; and
One Aboriginal site, isolated find, AWM1, was identified in the Australian War Memorial Campbell Precinct study area in the course of the current investigation. The site has low archaeological values, but is valued by the local Aboriginal community and as such it meets Criterion (i) of the Commonwealth Heritage Listing criteria.
Site AWM1 be listed on the Australian War Memorial Heritage Register and ACT Heritage Register; and
Impact to site AWM1 should be avoided, if disturbance is anticipated potential activities around the periphery of the site should be managed and the site fenced where appropriate to demarcate site boundary and to control access.
~ o0o ~
TABLE OF CONTENTS
APPENDIX 1 ABORIGINAL PARTICIPATION FORM................................24
The Australian War Memorial (AWM) is currently developing the Australian War Memorial Heritage Register in conjunction with Australian War Memorial’s existing collection management database (MICA). The Register is a list of places and place elements which have been identified as having Commonwealth Heritage value.
Godden Mackay Logan (GML) has been engaged by the Australian War Memorial to undertake a cultural heritage assessment of the Australian War Memorial’s two precincts at Campbell and Mitchell, for the heritage identification and assessment program of the AWM Commonwealth Heritage Register.
The Campbell site is situated east of the city and lies at the foot of Mount Ainslie, including the National Memorial and Grounds. The Campbell precinct is bound by Limestone Avenue, Fairbairn Avenue and Treloar Crescent, Campbell (Figure 1.1).
The Mitchell precinct is located in North Canberra and consists of three buildings including Annex A - Mitchell Conservation and Repository, Treloar B and Treloar C (Figure 1.2).The Mitchell property is situated on both sides of Vicars Street and is further bound by Lysaght and Callan Streets.
This report collates and documents the results of the indigenous cultural heritage assessment conducted for the Australian War Memorial Campbell and Mitchell sites. The assessment included consultation with ACT Aboriginal community organisations, database and literature review and field survey of the subject areas. The report will assist with the Australian War Memorial’s assessment for the development of the Commonwealth Heritage Register regarding indigenous heritage values.
The report was commissioned by Godden Mackay Logan.
1.1 Report Outline
This report:
Figure 1.1 Location of the Australian War Memorial Campbell Precinct study area (solid blue outline) (Extract from Hall 1:25,000 topo map 2nd edition L&PI 2003)
Figure 1.2 Location of the Australian War Memorial Mitchell Precinct study area (shaded in dark blue) (Extract from Hall 1:25,000 topo map 2nd edition L&PI 2003)
2. ABORIGINAL PARTICIPATION
Four Registered Aboriginal Organisations (RAOs) have an interest in cultural heritage issues in the ACT and are registered with the ACT Heritage Unit. They are the:
Contact was made with each group to inform them of the project and to organise representation during the field survey. Subsequently, Justin Williams from the CBAC, Don Bell from Buru Ngunnawal and Graeme Riley from Ngarigu, attended the program at the Campbell Precinct.
Justin Williams (CBAC) and Don Bell (Buru Ngunnawal) were in attendance during the survey of the Mitchell Precinct, the team was accompanied by Craig Seaton from the Australian War Memorial.
A copy of this draft report will be forwarded to the participating RAOs for review and comment prior to finalisation.
Records of Aboriginal Participation for the field survey component of this project are provided in Appendix 1.
3. STUDY METHODOLOGY
3.1 Literature and Database Review
A range of documentation was reviewed in assessing archaeological knowledge for the Campbell and Mitchell study areas and surrounds. This literature and data review was used to determine if known Aboriginal sites were located within the area under investigation, to facilitate site prediction on the basis of known regional and local site patterns, and to place the area within an archaeological and heritage management context.
Aboriginal literature sources included the Heritage Online database (HERO) maintained by the ACT Heritage Unit, and associated files and catalogue of archaeological reports.
Searches were undertaken of the following heritage registers and schedules:
Fieldwork was conducted over one day in February 2008. Field survey was conducted on foot and involved inspection of all areas of ground surface visibility within the Campbell and Mitchell study areas.
3.3 Project Personnel
Field survey was undertaken by archaeologists Rebecca Yit and Nicola Hayes. Sites Officers Mr Don Bell (Buru Ngunawal), Grahame Riley (Ngarigu) and Justin Williams (CBAC) were also in attendance. Craig Seaton (AWM) provided assistance at the AWM Campbell Precinct.
This report was prepared by Rebecca Yit.
3.4 Recording Parameters
The archaeological survey aimed at identifying material evidence of Aboriginal occupation as revealed by surface artefacts and areas of archaeological potential unassociated with surface artefacts. Potential recordings fall into three categories: isolated finds, sites and potential archaeological deposits.
Isolated finds
An isolated find is a single stone artefact, not located within a rock shelter, and which occurs without any associated evidence of Aboriginal occupation within a radius of 60 metres. Isolated finds may be indicative of:
Except in the case of the latter, isolated finds are considered to be constituent components of the
background scatter present within any particular landform.
The distance used to define an isolated artefact varies according to the survey objectives, the incidence of ground surface exposure, the extent of ground surface disturbance, and estimates of background scatter or background discard densities. In the absence of baseline information relating to background scatter densities, the defining distance for an isolated find must be based on methodological and visibility considerations. Given the varied incidence of ground surface exposure and deposit disturbance within the study area, and the lack of background baseline data, the specification of 60 metres is considered to be an effective parameter for surface survey methodologies. This distance provides a balance between detecting fine scale patterns of Aboriginal occupation and avoiding environmental biases caused by ground disturbance or high ground surface exposure rates. The 60 metre parameter has provided an effective separation of low density artefact occurrences in similar southeast Australian topographies outside of semi-arid landscapes.
Background scatter
Background scatter is a term used generally by archaeologists to refer to artefacts which cannot be usefully related to a place or focus of past activity (except for the net accumulation of single artefact losses).
However, there is no single concept for background discard or 'scatter', and therefore no agreed definition. The definitions in current use are based on the postulated nature of prehistoric activity, and often they are phrased in general terms and do not include quantitative criteria. Commonly agreed is that background discard occurs in the absence of 'focused' activity involving the production or discard of stone artefacts in a particular location. An example of unfocused activity is occasional isolated discard of artefacts during travel along a route or pathway. Examples of 'focused activity' are camping, knapping and heat-treating stone, cooking in a hearth, and processing food with stone tools. In practical terms, over a period of thousands of years an accumulation of 'unfocused' discard may result in an archaeological concentration that may be identified as a 'site'. Definitions of background discard comprising only qualitative criteria do not specify the numbers (numerical flux) or 'density' of artefacts required to discriminate site areas from background discard.
Sites
A site is defined as any material evidence of past Aboriginal activity that remains within a context or place which can be reliably related to that activity.
Frequently encountered site types within southeastern Australia include open artefact scatters, coastal and freshwater middens, rock shelter sites including occupation deposit and/or rock art, grinding groove sites and scarred trees. For the purposes of this section, only the methodologies used in the identification of these site types are outlined.
Most Aboriginal sites are identified by the presence of three main categories of artefacts: stone or shell artefacts situated on or in a sedimentary matrix, marks located on or in rock surfaces, and scars on trees. Artefacts situated within, or on, a sedimentary matrix in an open context are classed as a site when two or more occur no more than 60 metres away from any other constituent artefact. The 60 metre specification relates back to the definition of an isolated find (Refer above).
Any location containing one or more marks of Aboriginal origin on rock surfaces is classed as a site. Marks typically consist of grinding features such as grinding grooves for hatchet heads, and rock art such as engravings, drawings or paintings. The boundaries of these sites are defined according to the spatial extent of the marks, or the extent of the overhang, depending on which is most applicable to the spatial and temporal integrity of the site.
4. ENVIRONMENTAL CONTEXT
The Australian War Memorial study area comprises two precincts, situated at Campbell and Mitchell in northern ACT.
4.1 Campbell Precinct
The Campbell precinct study area consists of the National Memorial and Grounds and comprises an area of approximately of 14 hectares. The Campbell study area is contained by the major arterial roads of Limestone Avenue to the southwest and Fairbairn Avenue to the south. Treloar Crescent encloses the northern and eastern boundaries of the study area. The site houses four buildings including the Australian War Memorial, the CEW Bean Building, the Administration Building and the Outpost Café. The grounds of the precinct have been extensively landscaped to contain memorials, plaques, a parade garden and commemorative and landscape plantings (Figure 4.1).
The study area consists predominantly of the lower southwest facing basal slopes of the Mount Ainslie and Mount Pleasant ridgeline water catchment. An unnamed tributary draining into Lake Burley Griffin is located along the eastern boundary of the study area.
The bedrock geology of the Campbell precinct is dominated by the Ainslie volcanics which consists of Devonian rocks including rhyolite, dacite, tuff, and quartz porphyry (Canberra 1:250,000 geological map 2nd Ed 1964). Soils within the area typically include red earths and red and yellow podzolic soils. Massive earths of a red or brown colour occur on the fan deposits flanking Mount Ainslie (Walker 1978).
The Campbell study area is characterised by a constructed undulating landscape where extensive landscaping and modification has subsumed the original landscape topography. Vegetation at the Campbell site represents contemporary plantings since the 1940s (pers. comm. Craig Seaton, AWM). Plantings of eucalypts and wattles have been developed on the eastern portion of the study area, appearing as an extension of the Mount Ainslie vegetation (Figure 4.2). Exotic species of deciduous and coniferous trees (Figure 4.3) have been developed on the western portion of the site (Australian Heritage List #105889 Australian War Memorial and the Memorial Parade, Anzac Pde, Campbell, ACT).
Extensive landuse impacts and modification to the Campbell site has resulted in widespread disturbance of the upper soil layers within the study area. The types of landscape disturbance which are evident within the study area include:
Changes in vegetation cover will have had considerable impact on the upper soil profile throughout the study area. The removal of native vegetation would have prompted erosion and surface instability on the valley slopes and the sedimentation of the valley floor.
This land use history will have significantly impacted the survival and integrity of the prehistoric archaeological record. It is probable that any possible surface scatters of artefacts which occur within the uppermost soil layers will have undergone varying degrees of horizontal and vertical disturbance particularly from the removal of vegetation and extensive plantings. However, unless impact has been wholesale, (such as in excavation, filling or recontouring) it is frequently possible to identify a remnant scatter of disturbed artefacts which mark such sites.
Figure 4.1 Drawing of Australian War Memorial Campbell Precinct (plan supplied by AWM)
Figure 4.2 View northwest towards plantings of native trees in the eastern portion of the Australian War Memorial Campbell Precinct
Figure 4.3 View of western portion of Australian War Memorial Campbell Precinct looking west towards landscaped grounds and plantings of exotic tree species
4.2 Mitchell Precinct
The Mitchell precinct consists of three conservation and storage buildings situated on the east and western side of Vicars Street, Mitchell. The buildings include Treloar A (Annexe A-Mitchell Conservation and Repository), Treloar B and Treloar C.
The Mitchell study area has undergone extensive landscape modification and some 90% of the ground surface is obscured by structures which have been constructed almost to the limits of the property.. A narrow margin of land to the east of Treloar A represents the only exposed ground surface within the Mitchell precinct study area. This area has been extensively disturbed by construction activities. In addition, the majority of the ground surface has been covered with concrete, bitumen or paved. Figures 4.4 and 4.5 provide views of the ground surface exposure east of Treloar A.
The bedrock geology consists of Lower Silurian mudstone, siltstone and minor shale and chert belonging to the Canberra Formation typical of the geology of the north Canberra area. The rock
base is bedded almost vertically and consists predominantly of platey, soft, weathered shales. Narrow protruding outcrops of more resistant bedrock occur throughout the non-alluvial topography of the area. These are mostly discontinuous or locally isolated outcrops consisting predominantly of shales and variously graded and fractured chert.
Vegetation within the Mitchell precinct consists of very sparse remnant native woodland trees, to natural Eucalypt woodland in varying states of regeneration and understorey density. Sullivans Creek, which runs adjacent to the western boundary of the Mitchell Precinct, has been extensively modified and channelised. This is likely to have caused major disturbance to any archaeological deposits occurring along the original creekline.
Similar to the Campbell site, the land use history of the Mitchell precinct will have significantly impacted the survival and integrity of the prehistoric archaeological record. It is probable that any archaeological deposits occurring within this location have been extensively disturbed, covered, and/or destroyed.
Figure 4.4 View of ground surface exposure looking east, Australian War Memorial Treloar A, Mitchell Precinct
Figure 4.5 View looking west from eastern boundary of Australian War Memorial Treloar A, across visible ground surface, Mitchell Precinct
5. ABORIGINAL CONTEXT
5.1 Tribal Boundaries and Ethnohistory
Tribal boundaries within Australia are based largely on linguistic evidence and it is probable that boundaries, clan estates and band ranges were fluid and varied over time. Consequently 'tribal boundaries' as delineated today must be regarded as approximations only, and relative to the period of, or immediately before, European contact. Social interaction across these language boundaries appears to have been a common occurrence.
According to Tindale (1940) the territories of the Ngunawal, Ngarigo and the Walgalu peoples coincide and meet in the Queanbeyan area. The Fairbairn Avenue study area probably falls within the tribal boundaries of the Ngunnawal people.
References to the traditional Aboriginal inhabitants of the Canberra region are rare and often difficult to interpret (Flood 1980). The consistent impression however is one of rapid depopulation and a desperate disintegration of a traditional way of life over little more than fifty years from initial white contact (Officer 1989). The disappearance of the Aborigines from the tablelands was probably accelerated by the impact of European diseases which may have included the smallpox epidemic in 1830, influenza, and a severe measles epidemic by the 1860's (Flood 1980, Butlin 1983).
By the 1850's the traditional Aboriginal economy had largely been replaced by an economy based on European commodities and supply points. Reduced population, isolation from the most productive grasslands, and the destruction of traditional social networks meant that the final decades of the region's semi-traditional indigenous culture and economy was centred around white settlements and properties (Officer 1989).
By 1856 the local 'Canberra Tribe', presumably members of the Ngunnawal, were reported to number around seventy (Schumack 1967) and by 1872 recorded as only five or six 'survivors' (Goulburn Herald 9 Nov 1872). In 1873 one so-called 'pure blood' member remained, known to the white community as Nelly Hamilton or 'Queen Nellie'.
Combined with other ethnohistoric evidence, this lack of early sightings of Aborigines led Flood (1980) to suggest that the Aboriginal population density in the Canberra region and Southern Uplands was generally quite low.
Frequently, only 'pure blooded' individuals were considered 'Aboriginal' or 'tribal' by European observers. This consideration made possible the assertion of local tribal 'extinctions'. In reality, 'Koori' and tribal identity remained integral to the descendants of the nineteenth century Ngunnawal people, some of whom continue to live in the Canberra-Queanbeyan-Yass region.
5.2 Regional Background for the Campbell Precinct
A number of archaeological studies have been carried out in areas east of Canberra City and in the general region around Fairbairn Avenue. Studies have been conducted in the Majura Valley (Winston-Gregson 1985; AASC 1995, 1998; Navin Officer Heritage Consultants 1998, 1999a & b,
2001, 2006) and Campbell (Navin Officer Heritage Consultants 1997).
Studies conducted in the Majura Valley to the northeast and east of Fairbairn Avenue have assessed a variety of landscape types.
In 1998 AASC conducted a cultural heritage survey of the Army’s Majura Field Firing Range at Majura, an area of approximately 39.5 km2. An estimated 15% of the study area was sampled by the survey, with survey transects biased toward existing ground exposures and riparian zones. Ground surface visibility encountered by the survey was 'on average low to moderate across the entire study area’ and it was considered that the 'effective survey coverage' obtained was sufficient to have provided an effective assessment (AASC 1998:23). This study is, however, limited by a generalised and qualitative landform analysis and site specific management recommendations.
Forty two Aboriginal sites were recorded during the Majura Field Firing Range study. The majority of Aboriginal sites were small scatters of stone artefacts with the largest scatter containing thirty visible artefacts. Five scarred trees were also recorded. Two hundred and twenty two stone artefacts were recorded within the total assemblage for the Firing Range.
A detailed cultural heritage survey and assessment of a preferred Majura Valley Transport Corridor easement (Navin Officer Heritage Consultants 1999a) was conducted as part of a broader study investigating an appropriate alignment for the future construction of the Majura Parkway between the Federal Highway and Fairbairn Avenue. The proposed transport corridor was situated generally (within) 500 m west of the actual fluvial streamline of Woolshed Creek. The results of background research and field survey indicated that three Aboriginal artefact scatter sites were located within or close to the proposed easement.
In 1999(b) Navin Officer Heritage Consultants was commissioned to undertake a project to identify places and areas of possible cultural heritage significance in those parts of the Majura Valley not already examined for cultural heritage values. Prior to this study, Thirty two Aboriginal sites and isolated finds had been recorded. These included seventeen open artefact scatters, one scarred tree, thirteen isolated finds and one artefact scatter with associated reported quarry or stone procurement site. The 1999(b) field survey resulted in a further nineteen artefact scatters, twenty six isolated finds, three scarred trees and one potential archaeological deposit being recorded for the valley.
Navin Officer Heritage Consultants (1999b) noted a broad trend toward Aboriginal site location in valley floor and basal slope contexts. Within the small-scale landform categories, the most frequently recorded site contexts were: spurlines (41%), minor streamline margins (30%), major streamline margins (24%), terrace and alluvial flats (19%), basal slopes (17%), crests (14%), and mid slopes (12%). These frequencies indicate a preference for contexts which are locally elevated, have level ground, and are in close proximity (up to 100 m) to a water source. Riparian zones and mid valley to valley floor context spurline crests were considered to be the most archaeologically sensitive landforms within the Majura Valley. The potential archaeological resource within alluvial and valley floor contexts was possibly significantly under-represented due to the difficulty in detecting sites in aggrading and sedimentary contexts.
Southeast of the Fairbairn Avenue study area Trudinger (1989) conducted research for her Litt B thesis on artefact occurrences within the source bordering sand deposits north of the Molonglo River at Pialligo.
An assessment of alternative options for the proposed John Dedman Drive (Navin Officer Heritage Consultants 1997) included an Option 5 - which crossed Fairbairn Avenue at Northcott Drive. The option was not subject to field survey. However, based on geomorphological characteristics and degrees of landuse disturbance, the section of route crossing Fairbairn Avenue was assessed as having some potential to contain Aboriginal sites and requiring archaeological survey.
Cultural heritage assessment of two duplication options for the upgrade of Fairbairn Avenue to dual carriageway from Anzac Parade to Morshead Drive was undertaken in 2001 (Navin Officer Heritage Consultants). Field survey involved the Fairbairn Avenue route options and locations of the proposed traffic circles at Treloar Cresent and Northcott Drive. One low-density surface scatter of Aboriginal artefacts was identified adjacent to the intersection with Mount Ainslie Drive. The site (FA1) comprised of six artefacts on the southern side of Fairbairn Drive identified over a vehicle track and associated exposures. The site was assessed as containing minimal scientific value.
During 2006, Navin Officer Heritage Consultants undertook survey for the proposed Majura Parkway to replace the existing Majura Road between Fairbairn Avenue and the Federal Highway. A total of fifty seven previously recorded and newly recorded Aboriginal sites were identified within the study area. The majority of the sites were scatters artefacts and it was observed that such sites are common within the Majura Valley and the ACT in general.
5.3 The Campbell Precinct
No Aboriginal sites have previously been recorded as occurring within the Campbell precinct study area.
5.4 Regional Background for the Mitchell Precinct
Archaeological surveys in the ACT have resulted in the location of numerous archaeological sites in northern Canberra. The most common site type is the open artefact scatter, however scarred trees, grinding grooves, a possible ochre source and lithic raw material sources have also been identified in the area. Surveys and investigations carried out in this area are summarised below.
The Canberra Archaeological Society (CAS) conducted the first archaeological survey in the northern Canberra area in 1975-76. The survey located 'seven sites' and a larger number of 'less significant finds' (Bindon & Pike 1979). These results were re-assessed by Anutech (1984) who concluded that nine sites and fifteen isolated finds had been located by the CAS.
Seven of the nine sites located by the CAS were located close to streamlines, and twelve of the fifteen isolated finds were located within 100-200 m of streamlines.
Other surveys by the Canberra Archaeological Society added substantially to the database of both prehistoric and historic archaeological information for the area (Witter 1984; Winston-Gregson 1986).
Witter (1980) surveyed a 20 m wide easement for a gas pipeline running between Dalton and Canberra. His survey crossed the Yass River and traversed hilly country in the centre of the Upper Yass River catchment. Eleven artefact scatters containing small silcrete flakes and some blades were recorded during the survey. The following year Witter (1981) fully excavated one site (DC2) and collected the surface artefacts from six sites (DC1, DC5, DC6, DC9, DC11 & DC12).
More generalised studies were conducted for the EIS prepared for the Gungahlin development release area (Anutech 1984, NCDC 1989) and for the compilation of the Sites of Significance volume on Gungahlin and Belconnen (NCDC 1988). The Anutech investigation identified several general consistencies in site location. A majority of sites were classed as located on creek banks, on low- lying but well-drained areas, and within 150 m of the junction of two creeks. This was postulated to indicate a preference for topographically confined parts of valley floors where protection from wind is greatest. At a majority of sites, artefactual material was exposed as subsurface material eroding from A horizon sediments (Anutech 1984:24).
Although this model was considered to be incorrect by some researchers (Access Archaeology 1991:8) further comparative work by Navin and Officer (1991, 1992) tended to confirm the locational model proposed by Anutech. The majority of open artefact scatters, particularly larger sites, are situated adjacent to or in close proximity to creek flats or valley bottom contexts, frequently on low gradient basal slopes adjacent to streams.
With the release of large areas of land for urban development in north Canberra several larger scale systematic archaeological surveys were undertaken to define the archaeological resource of the subject areas (eg Officer and Navin 1992; Kuskie 1992; Wood & Paton 1992). Numerous other archaeological assessments have been carried out for smaller land areas which were likely to be affected by specific proposed developments such as roads, golf courses, water storage facilities, pipelines etc.
The closest archaeological investigation to the present study area is a survey of a proposed gas pipeline easement from the Federal Highway to Majura Parkway conducted by Saunders (1995). No sites were located during the course of the survey.
Navin (1992) undertook a reconnaissance level archaeological survey carried out for a proposed release of land for urban infill purposes at North Watson, and heritage investigations for the duplication of a 10.7 km section of the Federal Highway in North Canberra (Navin, Officer and Legge 1995, 1996).
In 1992 a reconnaissance level archaeological survey was carried out for a proposed release of land for urban infill purposes at North Watson. The area comprised approximately 200 ha of low gradient slopes and foothills on the western fall of Mount Majura. Spurs and drainage lines in the area were generally broad and poorly defined and there were no major drainage beds or permanent water sources in the area. Vegetation consisted of open woodland with isolated or relict scatters of mature
Eucalypts situated within established pasture. Around 40% of the study area had undergone extensive landscape disturbance as a result of a variety of developments.
The North Watson study area as a whole was considered to have low archaeological potential. This was based on the lack of permanent water, major drainage lines, and economic rock types, and the degree of recent landscape disturbance. Features of relative archaeological potential were defined as mature native trees, relatively undisturbed streamlines and comparatively flat topographic land units (particularly where close to water).
In August 1995 a corridor selection study was undertaken which assessed two possible Federal Highway duplication alternatives (Navin, Officer and Legge 1995) and subsequently further detailed studies were undertaken for the EIS for the duplication (Navin, Officer and Legge 1996). Thus five Aboriginal sites and four isolated finds were located in the Federal Highway Duplication study area.
During 2004, Navin Officer Heritage Consultants undertook survey of Blocks 2 and 3, Section 75, Watson for redevelopment as a residential precinct. Two Aboriginal sites (CF1 and CF2) comprising of artefact scatters were identified on the surface of eroded contexts. Site CF1 was situated on a sloping adjacent to a remnant creek line while site CF2 was identified on sloping ground of a spurline crest. It was noted that both sites did not represent in situ material and there appeared to be little potential for subsurface deposits (Navin Officer Heritage Consultants 2004).
5.5 The Mitchell Precinct
No Aboriginal sites have previously been recorded as occurring within the Mitchell precinct study area.
6.1 Aboriginal Sites
No Aboriginal sites have been previously identified within the Australian War Memorial Campbell and Mitchell Precinct study areas.
No Aboriginal sites or areas of archaeological potential/sensitivity were identified in the Mitchell Australian War Memorial Precinct study area in the course of the current investigation.
One Aboriginal site, isolated find (AWM1), was identified in the Campbell Australian War Memorial Precinct study area in the course of the current investigation. No areas of archaeological potential/sensitivity were identified. The location of the site is shown in Figure 6.3.
Australian War Memorial 1 (AWM1) – isolated find
MGA Ref: 695659.6093524 (GDA) {using hand-held GPS unit} CSMG Ref: 212822.603746 [using GEOMIN32 conversion program]
This recording consists of an isolated stone artefact situated to the west of Treloar Crescent, in the eastern corner of the Australian War Memorial, Campbell precinct. The artefact was identified on an exposure on the crest of a slight rise, adjacent to the road (Figures 6.1 and 6.2). The find is situated 3 m from the road and approximately 20 m north of Treloar Crescent and Fairbairn Avenue junction.
Significant ground disturbance associated with the installation of a gas pipeline and the spreading of road metal has occurred within the artefact location.
The isolated find is a commonly occurring artefact type and is made from commonly occurring stone type. The flake occurs as a 'loose', possibly lagged or disturbed surface feature. The potential for subsurface and in situ artefactual material to remain at this site is considered to be minimal due to the shallow nature of the soil and the extent of previous ground disturbance.
Ground exposure in the area was estimated at 80% with 30% visibility in the area of exposure. Artefact recorded at this location:
1. brown grey volcanic broken flake; 23 x 17 x 3 mm
Figure 6.1 View looking north towards site Australian War Memorial 1 (AWM1) - artefact is situated on rise crest within exposure
Figure 6.2 View of site Australian War Memorial 1 (AWM1) looking south along exposure towards junction of Treloar Crescent and Fairbairn Avenue, Campbell
Figure 6.3 Location of Aboriginal site within the Australian War Memorial, Campbell precinct (Extract from Canberra 1:25,000 topo map 2nd edition L&PI 2003)
6.2 Survey Coverage and Visibility Variables
The effectiveness of archaeological field survey is to a large degree related to the obtrusiveness of the sites being looked for and the incidence and quality of ground surface visibility. Visibility variables were estimated for all areas of comprehensive survey within the study area. These estimates provide a measure with which to gauge the effectiveness of the survey and level of sampling conducted. They can also be used to gauge the number and type of sites that may not have been detected by the survey.
Ground surface visibility is a measure of the bare ground visible to the archaeologist during the survey. There are two main variables used to assess ground surface visibility, the frequency of exposure encountered by the surveyor and the quality of visibility within those exposures. The predominant factors affecting the quality of ground surface visibility within an exposure are the extent of vegetation and ground litter, the depth and origin of exposure, the extent of recent sedimentary deposition, and the level of visual interference from surface gravels.
The incidence of ground surface exposure at the Campbell Precinct varied enormously across the site with greater exposure and visibility in the eastern portion of the study area. It was estimated that 20% ground exposures with 30% visibility within the exposures characterised the eastern half while this decreased significantly across the western portion of the Campbell site. The low level of visibility for an open context is due to the thick grass coverage from extensive landscaping.
The incidence of ground exposure at the Mitchell precinct was limited to a small portion of highly disturbed ground within Treloar A measuring approximately 80 x 40 m. Visibility within this area was estimated at 40% with coverage of imported gravels.
7. SIGNIFICANCE ASSESSMENT
7.1 Commonwealth Heritage Assessment Criteria
The Commonwealth Heritage List is a register of natural and cultural heritage places owned or controlled by the Australian Government. These may include places associated with a range of activities such as communications, customs, defence or the exercise of government. The Environment Protection and Biodiversity Conservation Act 1999 establishes this list and nominations are assessed by the Australian Heritage Council.
In accordance with the Environment Protection and Biodiversity Conservation Act 1999 a place has a Commonwealth Heritage value if it meets one of the Commonwealth Heritage criteria (section 341D).
A place meets the Commonwealth Heritage listing criterion if the place has significant heritage value because of one or more of the following:
a) The place's importance in the course, or pattern, of Australia's natural or cultural history;
b) The place's possession of uncommon, rare or endangered aspects of Australia's natural or cultural history;
c) The place's potential to yield information that will contribute to an understanding of Australia's natural or cultural history;
d) The place's importance in demonstrating the principal characteristics of:
ii. a class of Australia's natural or cultural environments;
e) The place's importance in exhibiting particular aesthetic characteristics valued by a community or cultural group;
f) The place's importance in demonstrating a high degree of creative or technical achievement at a particular period;
g) The place's strong or special association with a particular community or cultural group for social, cultural or spiritual reasons;
h) The place's special association with the life or works of a person, or group of persons, of importance in Australia's natural or cultural history; and
i) The place's importance as part of Indigenous tradition.
Thresholds
While a place can be assessed against the above criteria for its heritage value, this may not always be sufficient to determine whether it is worthy of inclusion on the Commonwealth Heritage List. The Australian Heritage Council may also need to use a second test, by applying a 'significance threshold', to help it decide. This test helps the Council to judge the level of significance of a place's heritage value by asking 'just how important are these values?'
To be entered on the Commonwealth Heritage List a place will usually be of local or state-level significance.
Commonwealth Heritage Management Principles
In addition to the above criteria and thresholds, Schedule 7B of the Environment Protection and Biodiversity Conservation Regulations 2000 (Regulation 10.03D) lists the Commonwealth Heritage Management Principles. These principles are:
2. The management of Commonwealth Heritage places should use the best available knowledge, skills and standards for those places, and include ongoing technical and community input to decisions and actions that may have a significant impact on their Commonwealth Heritage values.
3. The management of Commonwealth Heritage places should respect all heritage values of the place and seek to integrate, where appropriate, any Commonwealth, State, Territory and local government responsibilities for those places.
4. The management of Commonwealth Heritage places should ensure that their use and presentation is consistent with the conservation of their Commonwealth Heritage values.
5. The management of Commonwealth Heritage places should make timely and appropriate provision for community involvement, especially by people who:
a) Have a particular interest in, or associations with, the place; and
b) May be affected by the management of the place.
6. Indigenous people are the primary source of information on the value of their heritage and that the active participation of indigenous people in identification, assessment and management is integral to the effective protection of indigenous heritage values.
7. The management of Commonwealth Heritage places should provide for regular monitoring, review and reporting on the conservation of Commonwealth Heritage values.
When assessing the Commonwealth heritage significance of places within the study area, in addition to applying the primary and secondary tests of the Commonwealth Heritage Listing criteria and the significance thresholds, reference also needs to be made to the above Commonwealth Heritage Management Principles. The latter is particularly relevant to the study area where there are:
Given its disturbed context and the lack of rare or notable features, the archaeological significance of isolated find AWM1 is considered to be low. However, all Aboriginal archaeological recordings retain significance for the local Aboriginal community. Aboriginal representative Mr Don Bell expressed concern that the Aboriginal recording within the Campbell study area be protected as much as possible from any potential direct impacts resulting from any future development.
As representatives of ACT Aboriginal stakeholder groups have indicated that the isolated find, AWM1, recorded in the Campbell Precinct is valued by the local Aboriginal community as important as part of the local indigenous tradition, the site meets Criterion (i) of the Commonwealth Heritage Listing criteria.
Further, as the site is considered to have significant heritage value to local Aboriginal community groups it meets the threshold for recording on the Commonwealth Heritage List.
8. STATUTORY INFORMATION1
8.1 Environment Protection and Biodiversity Conservation Act 1999
This Act (EPBC Act) repeals the Environment Protection (Impact of Proposals) Act 1974, the National Parks and Wildlife Conservation Act 1975, the Whale Protection Act 1980, the World Heritage Properties Conservation Act 1983, and the Endangered Species Protection Act 1992. The scope and coverage of the Act is wide and far-reaching. The objectives of the Act include: the protection of the environment, especially those aspects of national significance; to promote the conservation of biodiversity and ecologically sustainable development; and to recognise the role of indigenous people and their knowledge in realising these aims.
The Act makes it a criminal offence to undertake actions having a significant impact on any matter of national environmental significance (NES) without the approval of the Environment Minister. Actions which have, may have or are likely to have a relevant impact on a matter of NES may be taken only:
Matters of national environmental significance (NES) are defined as:
In addition, the Act makes it a criminal offence to take on Commonwealth land an action that has, will have, or is likely to have a significant impact on the environment (section 26(1)). A similar prohibition (without approval) operates in respect of actions taken outside of Commonwealth land, if it has, or is likely to have a significant impact on the environment on Commonwealth land (s26(2)). Section 28, in general, requires that the Commonwealth (or its agencies) must gain approval (unless otherwise excluded from this provision), prior to conducting actions which has, will, or is likely to have a significant impact on the environment inside or outside the Australian jurisdiction.
The Act adopts a broad definition of the environment that is inclusive of cultural heritage values. In particular, the ‘environment’ is defined to include the social, economic and cultural aspects of ecosystems, natural and physical resources, and the qualities and characteristics of locations; places and areas (s528).
The Act allows for several means by which a controlled action can be assessed, including an accredited assessment process, a public environment report, an environmental impact statement, and a public inquiry (Part 8).
1 The following information is provided as a guide only and is accurate to the best knowledge of Navin Officer Heritage Consultants. Readers are advised that this information is subject to confirmation from qualified legal opinion.
Section 68 imposes an obligation on a proponent proposing to take an action that it considers to be a controlled action, to refer it to the Environment Minister for approval.
World heritage values are defined to be inclusive of natural and cultural heritage (s12(3)), and a declared World Heritage Property is one included on the World Heritage List, or is declared to be such by the Minister (s13 and s14). The Act defines various procedures, objectives and Commonwealth obligations relating to the nomination and management of World Heritage Properties (Part 15, division 1).
8.2 Environment and Heritage Legislation Amendment Act (No 1) 2003
Australian Heritage Council Act 2003 and
Australian Heritage Council (Consequential and Transitional Provisions) Act 2003
These three Acts replace the previous Commonwealth heritage regime instigated by the Australian Heritage Commission Act 1975. The Acts establish the following provisions:
The National Heritage List
The National Heritage List is a schedule of places which the Minister for the Environment and Heritage considers to have ‘National Heritage Value’ based on prescribed ‘National Heritage Criteria’. The List many include places outside of Australia if agreed to by the Country concerned. There is a public nomination process and provision for public consultation on nominations. Expert advice regarding nominations is provided to the Minister by the Australian Heritage Council.
A nominated place considered to be at risk can be placed on an emergency list while its heritage value is assessed.
The listing of a place is defined as a ‘matter of national environmental significance’ under the EPBC Act. As a consequence, the Minister must grant approval prior to the conduct of any proposed actions which will, or are likely to have, a significant impact on the National Heritage values of a listed place.
The Minister is to ensure that there are approved management plans for most listed places owned or controlled by the Commonwealth or a Commonwealth agency, and that Commonwealths actions are in accord with such plans.
The Commonwealth or its agencies cannot sell or lease a listed place unless the protection of its National Heritage values is specified in a covenant, or such an action is found to be unnecessary, unreasonable or impractical. All Commonwealth agencies which own or control places which have or may have National Heritage values, must take all reasonable steps to assist the Minister and Australian Heritage Council to identify and assess those values.
The Commonwealth Heritage List
The Commonwealth Heritage List is a schedule of places owned or controlled by the Commonwealth, which the Environment Minister considers to have ‘Commonwealth Heritage Value’. The list may include places outside of Australia. The processes of nomination and assessment are similar to those for the National Heritage List. Like the National Heritage List, there is a provision for emergency listing.
The Act places a range of obligations on the Commonwealth Agencies with regard to places included on the Commonwealth Heritage List. These include:
The Australian Heritage Council
The Australian Heritage Council provides expert advice to the Minister on heritage issues and nominations for the listing of places on the National Heritage List and the Commonwealth Heritage List. The Council replaces the former Australian Heritage Commission.
The Register of the National Estate
The register of the National Estate was established under the now repealed Australian Heritage Commission Act 1975. The National Estate was defined under this Act as ‘those places, being components of the natural environment of Australia or the cultural environment of Australia, that have aesthetic, historical, scientific or social significance or other special value for future generations as well as for the present community’. Under the new Commonwealth Acts, the Register will be retained and maintained by Australian Heritage Council as a publicly accessible database for public education and the promotion of heritage conservation. Nominations will assessed by the Australian Heritage Council. The Minister must consider the information in the Register when making decisions under the EPBC Act. A transitional provision allows for the Minister to determine which of the places on the Register and within Commonwealth areas should be transferred to the Commonwealth Heritage List.
9. CONCLUSIONS AND MANAGEMENT CONSIDERATIONS
No Aboriginal sites or areas of archaeological potential/sensitivity were identified in the Mitchell Australian War Memorial Mitchell Precinct study area in the course of the current investigation. There are no indigenous heritage assets or constraints relating to the Australian War Memorial Mitchell Precinct.
One Aboriginal site, isolated find, AWM1, was identified in the Australian War Memorial Campbell Precinct study area in the course of the current investigation. The site has low archaeological values, but is valued by the local Aboriginal community and as such it meets Criterion (i) of the Commonwealth Heritage Listing criteria.
It is recommended that:
2. Impact to site AWM1 should be avoided, if disturbance is anticipated potential activities around the periphery of the site should be managed and the site fenced where appropriate to demarcate site boundary and to control access.
3. A copy of this report should be provided to the following Aboriginal organisations with an invitation to comment on the report findings and recommended management strategies:
Mr Tyrone Bell
Buru Ngunawal Aboriginal Corporation 4 Gasking Place
DUNLOP NSW 2615
Mr Carl Brown CBAC
17 Cassia Crescent
QUEANBEYAN NSW 2620
Mr Tony Boye
Ngarigu Currawong Clan 6 Buckman Place
MELBA ACT 2615
10. REFERENCES
AASC 1995 Brief No 94/13 - Preliminary Cultural Resource Surveys of Potential Motor Sports Sites at Kowen and Majura. Report to ACT Planning Authority, Dept of Environment, Land & Planning, ACT Government.
AASC 1998 DRAFT Cultural Heritage Survey of Majura Field Firing Range, Majura, ACT. Report to the Department of Defence.
Access Archaeology P/L 1991 John Dedman Drive Archaeological Survey. Report to Ove Arup & Partners; R.A. Young & Associates.
Anutech Archaeological Consultancies 1984 An Archaeological Study of Gungahlin, ACT Vols 1 & 2.
Report to N.C.D.C, Canberra.
Bindon, P. and G. Pike 1979 Survey of Prehistoric and Some Historic Sites of the Gungahlin District, ACT. Conservation Memorandum No 6, ACT Parks and Conservation Service, First Edition.
Butlin, N. 1983 Our Original Aggression. Allen and Unwin, Sydney. Flood, J. 1980 The Moth Hunters AIAS Press, Canberra.
Kuskie, P.J. 1992 A Preliminary Cultural Resource Survey of the Proposed Residential Development Areas C1, C2, C3 & C4 at Gungahlin, ACT. Report to ACT Dept of Environment, Land and Planning.
Navin, K. 1992 Reconnaissance Level Investigation of North Watson, ACT. Report to Ove Arup and Partners Pty Ltd.
Navin Officer Heritage Consultants 1997 Cultural Heritage Assessment Proposed John Dedman Drive and Alternative Options. Report to Maunsell McIntyre Pty Ltd.
Navin Officer Heritage Consultants 1998 Inventory of Known and Reported Cultural Heritage Places, Majura Valley ACT. Desktop Review for Proposed Majura Valley Transport Corridor. Report to Gutteridge Haskins & Davey Pty Ltd.
Navin Officer Heritage Consultants 1999a Majura Valley Transport Corridor Cultural Heritage Assessment. Report to Gutteridge Haskins & Davey Pty Ltd.
Navin Officer Heritage Consultants 1999b Survey and Assessment of the Cultural Heritage Resource of part of the Majura Valley, Woolshed Creek, ACT. 2 vols. A Report to the Heritage Unit, Environment ACT, ACT Dept of Urban Services.
Navin Officer Heritage Consultants 2001 (revised 2003) Fairbairn Avenue Duplication, Cultural Heritage Assessment. A Report to David Hogg Pty Ltd.
Navin Officer Heritage Consultants 2004 Part Block 2 and Block 3 Section 75, Watson ACT. Cultural Heritage Assessment. A Report to McCann Property & Planning.
Navin Officer Heritage Consultants 2006 Majura Parkway, Majura Valley, ACT. Cultural Heritage Assessment. A Report to SMEC Australia.
Navin, K and K. Officer 1991 An Archaeological Investigation of Site PH44, Gungahlin. Report to Ove Arup and Partners Pty Ltd.
Navin, K and K. Officer 1992 An Archaeological Survey of Sections of the Proposed Gundaroo and Mirrabei Drives, Gungahlin, ACT. Report R. A. Young and Associates Pty Ltd.
Navin, K., K. Officer and K. Legge 1996 Proposed Duplication Of The Federal Highway, Stirling Avenue to Sutton Interchange EIS - Cultural Heritage Component. Report to Ove Arup & Partners
NCDC 1989 Gungahlin Environmental Impact Statement. NCDC, Canberra.
Officer, K. 1989 Namadgi Pictures The Rock Art Sites within the Namadgi National Park, ACT. Their recording, significance, analysis and conservation. Volumes 1 and 2.
Officer, K. and K. Navin 1992 An Archaeological Assessment of the May 1992 Urban Release Areas, Gungahlin, ACT. Report to the ACT Heritage Unit.
Saunders, P. 1995 Cultural Heritage Survey of Gas Pipeline from Federal Highway to Majura Parkway, ACT. Report to Navin Officer for AGL Gas Company (ACT) Pty Ltd.
Schumack, S.1967 An Autobiography or Tales and Legends of Canberra Pioneers. ANU Press Canberra
Tindale, N. 1940 Australian Aboriginal Tribes: A Field Survey. Transactions Royal Society of S.A. No 64.
Trudinger, P. 1989 Confounded by Carrots. Unpublished Litt.B Thesis. Dept of Prehistory & Anthropology, ANU.
Walker, P. H. 1978 Soil-Landscape Associations of the Canberra Area. Division of Soils Divisional Report No.29, Commonwealth Scientific and Industrial Research Organisation, Australia.
Winston-Gregson, J. H. 1985 Australian Federal Police Site at Majura Block 42, Archaeological Report. Access Archaeology Pty Ltd. Report to National Capital Development Commission (Brief no. EL 55/84).
Winston-Gregson, J. H. 1986 Percival Hill Archaeological Survey. Report to N.C.D.C, Canberra.
1986.
Witter, D. 1980 An Archaeological Pipeline Survey between Dalton and Canberra. Aboriginal and Historical Resource Section, NPWS, Sydney.
Wood, V. and R. Paton 1992 Cultural Resource Assessment of Area C5, Gungahlin, ACT: Stage 1.
Report to ACT DELP.
~ o0o ~
APPENDIX 1
ABORIGINAL PARTICIPATION FORMS
Appendix J
Memorial Stakeholder and Community Consultation
Stakeholder and Community Consultation
A stakeholder is defined by the Memorial as someone who is interested in, who can influence, or may be impacted by heritage matters at the AWM. These stakeholders may be from within the Memorial, individuals or community groups, as listed below.
The AWM Heritage Strategy, Heritage Management Plan or any future works, projects or activities may be of interest to stakeholders. The Memorial’s Building and Services Section determine who the relevant stakeholders are for consultation in relation to heritage matters. This occurs on a case-by-
case basis and would be determined where the stakeholders’ interests, skills or expertise, matches
the heritage matter being considered and requiring consultation.
Consultation involves stakeholder engagement in the most suitable forum for the matter or project being considered, and is based upon an understanding of already identified understanding, familiarity and appreciation of heritage matters.
The Memorial undertakes consultation to ensure all stakeholders have a genuine opportunity to engage with the particular heritage-related matter or project. The Memorial’s consultation aims to reflect their particular expertise, or aspirations and to ensure the Stakeholders are aware, informed and engaged with the conservation of the National and Commonwealth Heritage values of the AWM.
Stakeholder Identification
Key heritage stakeholder groups include:
Stakeholder & Community Consultation Guidelines, May 2020 Page 1
Appendix K
EPBC Referral 2019-8574 Approval Conditions
VARIATION OF CONDITIONS ATTACHED TO APPROVAL
Australian War Memorial Redevelopment, Campbell, ACT (EPBC 2019/8574)
This decision to vary conditions of approval is made under section 143 of the Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act).
Person to whom the approval is granted | Australian War Memorial
ABN: 64 909 221 257 |
Approved action | To undertake the Australian War Memorial Redevelopment works, Campbell, ACT. The works are to increase display space and improve visitor amenity and include a new Southern Entrance below the existing forecourt, expansion of the Parade Ground, demolition and reconstruction of Anzac Hall and a new Glazed Courtyard between the rear of the Memorial and the new Anzac Hall, extension and refurbishment of the C.E.W. Bean Building, a new Research Centre and Public Realm improvement works [as described in EPBC referral 2019/8574, the final Preliminary Documentation dated September 2020 and subject to the approved variation dated 17 March 2020]. |
Variation
Variation of conditions attached to approval | The variation is:
Delete conditions 3, 5, 6, 10, 14, and 15 attached to the approval and substitute with the conditions specified in the table below
Delete Appendix A1 and substitute with the Appendix A1 specified in the table below. |
Date of effect | This variation has effect on the date the instrument is signed |
Person authorised to make decision
Name and position | Kim Farrant Assistant Secretary Environment Assessments (Vic, Tas) and Post Approvals Branch |
Signature |
|
Date of decision |
27 May 2021 |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
| Part A – Conditions specific to the action |
Original dated 10 | Removal and reinstatement of Main Building fabric |
December 2020 |
|
Original | 2. To minimise the impact of the action on protected matters, the approval holder must:
|
dated 10 | |
December | |
2020 | |
As varied on the date this | Managing Construction Impacts |
instrument was signed | 3. To minimise the impact of the action on protected matters, the approval holder must implement protection measures to ensure that fabric of the Main Building is managed and monitored during construction works to ensure no structural damage occurs in accordance with Appendix A1. |
| These measures must include as a minimum: |
| a. Engaging a suitably qualified expert to: i. Oversee and inspect the demolition and removal of building material to ensure there is no unapproved removal of Main Building fabric or elements other than the impacts identified in Appendix A1; |
| ii. Advise on procedures to handle and monitor impacts to Main Building fabric; |
| iii. Provide ongoing advice throughout the construction period including measures to manage traffic and laydown areas to reduce the risk of accidental impacts to the heritage values of the site; |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
| iv. Undertake regular inspections (on a daily basis or continuously during critical stages) throughout the construction of the new Southern Entrance to minimise impacts to the Main Building fabric.
b. Installing appropriate vibration sensors in the Main Building with threshold limits and alarms to detect any structural movement during bulk excavation and construction works and cease work if threshold limits are exceeded and/or structural impacts are detected; c. Establishing a minimum 1.5 metre heritage buffer zone along the Main Building southern facade in accordance with Appendix A1 to reduce the risk of structural impacts to the fabric of the Main Building. The heritage buffer zone must be clearly marked and façade physically protected. d. Underpinning of the towers consistent with Appendix A1 to ensure structural integrity of the Main Building is maintained throughout the new Southern Entrance works; e. Identifying and implementing contingency measures approved by a suitably qualified expert (structural engineer) in the case that structural impacts to the Main Building are detected during the construction phase.
These measures must be established prior to the commencement of construction and maintained throughout the duration of construction activities. |
Original dated 10 December 2020 | 4. To minimise the impact of the action on protected matters during the construction phase, the approval holder must document prior to commencement of construction and implement appropriate measures to: |
| a. Protect all onsite mature trees that are not planned for removal (i.e. exclusion fencing). |
| b. Clear only one hollow bearing tree in accordance with Figure 1. |
| c. Prevent soil erosion and stormwater contamination and implement contingency measures in the event of an impact being detected. |
| d. Monitor and manage any underground storage tanks to prevent soil and groundwater contamination. |
| e. Prevent any impacts to known Aboriginal Cultural Heritage sites in accordance with Figure 2. |
| f. Quickly detect any previously unknown items of Aboriginal Cultural Heritage that are encountered during construction, and immediately stop any works that could cause impacts until consultation with Registered Aboriginal Organisations results in agreement to resume works. |
| g. Induct construction personnel so that they are aware of the National and Commonwealth Heritage values and the Aboriginal Cultural heritage values of the site. |
| These measures must be established prior to the commencement of construction and maintained throughout the duration of construction activities. |
As varied on the date this | Archival Recording of Australian War Memorial Site |
instrument was signed | 5. To minimise the impact of the action on protected matters, prior to the commencement of construction, the approval holder must: a. Prepare a photographic archival record of the existing landscape and built features of the whole Australian War Memorial (Memorial) site prior to |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
| commencement of construction and throughout the development process in accordance with the document Photographic Recording of Heritage Items Using Film or Digital Capture (NSW Heritage Office, 2006). The archival record must be made available to the public by being permanently published on the website as a minimum. b. Commence a research project prior to commencement of construction to document the public's interpretation of historic elements of the site to allow the interpretation of the architectural development of the site and complete within 12 months of commencement of construction. c. Commence a research project prior to commencement of construction to document record and archive the memories that designers, veterans and visitors have of Anzac Hall and make the archive publicly available on the website within 12 months of commencement of construction. |
As varied on the date this instrument was signed | Specific Building Design Requirements
6. To minimise the impacts of the action on protected matters, the approval holder must ensure all detail design is consistent with the requirements of: |
| a. National Heritage values of the Australian War Memorial and the Memorial Parade. |
| b. Commonwealth Heritage values of the Australian War Memorial. |
| c. Commonwealth Heritage values of the Parliament House Vista. |
| d. National Heritage Management Principles and |
| e. Commonwealth Heritage Management Principles |
| A Heritage Impact Assessment (HIA) evaluating the final design against the above requirements must be conducted by a suitably qualified person prior to the commencement of construction. The HIA must be submitted to the Minister for approval prior to commencement of construction. The approval holder must not commence construction unless the HIA has been approved by the Minister in writing. The approval holder must implement the approved HIA. The approved HIA must be made publicly available on the website prior to commencement of construction and remain published on the website for the duration of this approval. |
| The HIA must be updated in accordance with conditions 14 and 15 and then submitted to the Department within 20 business days following any National Capital Authority (NCA) approval, to document any landscape and/or public realm design and any detailed design changes required by the NCA. |
Original dated 10 December 2020 | 7. To minimise the impacts of the action on protected matters, the approval holder must ensure that the apex of the Glazed Link and the roof of new Anzac Hall do not exceed RL 602.700m as shown in Appendix B1. |
Original dated 10 December 2020 | 8. To minimise the impacts of the action on protected matters the approval holder must:
a. Design, engineer and install a Glazed Link that can be removed without damage to the existing Main Building stone facade in the future if necessary, in accordance with Appendix B4. |
| b. Ensure the Glazed Link roof is only attached to the Main Building's 1990's metal roof addition and the existing roof slab/structure underneath. |
| c. Ensure the outline of the Glazed Link roof is installed to allow the parapet shape of the Main Building to be visible from Mount Ainslie. |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
| d. Maximise the transparency of the Glazed Link roof to promote the view of the northern façade of the Main Building in accordance with Appendix B2 and Appendix B3. |
Original dated 10 December 2020 | 9. To minimise the impacts of the action on protected matters the approval holder must:
a. Ensure the Oculus dome is constructed of low reflectivity glass (maximum external reflectivity of 10%). |
| b. Ensure the Oculus dome height does not exceed 530mm above the forecourt ground level. |
| c. Ensure the angled flat bronze handrail surrounding the Oculus does not exceed 750mm in height from forecourt ground level and does not contain glass infill. |
| d. Ensure the surrounding stone kerb is 250mm in height from forecourt ground level. |
As varied on | 10. To minimise the impacts of the action on protected matters the approval holder must:
|
the date this | |
instrument | |
was signed | |
Original dated 10 | Other Measures to mitigate Heritage Impacts |
December 2020 | 11. To minimise the impacts of the action on protected matters, the approval holder must, in time for the completion of construction, and for the remainder of the duration of this approval, train staff and volunteers to assist visitors to understand and appreciate the importance of the ability to view the Main Building northern facade when viewed within the Glazed Link in relation to the National Heritage values of the Australian War Memorial and the Memorial Parade and the Commonwealth Heritage values of the Australian War Memorial. |
Original dated 10 December 2020 | 12. To minimise the impact of the action on protected matters the approval holder must retain the access to the existing Main Building heritage entrance and promote its importance as recognised in the National Heritage values of the Australian War Memorial and the Memorial Parade and the Commonwealth Heritage values of the Australian War Memorial, the approval holder must: |
| a. Retain the use of the existing main entrance to the Main Building at the completion of construction for all visitors. |
| b. Retain modest cloaking/security services at the existing entrance to ensure visitors can still access this entrance directly. |
| c. Erect signage in time for the completion of construction to include an option for visitors to proceed directly between the carparks and the existing Main Building entrance; |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
| d. Ensure visitor engagement technology at the new Southern Entrance supports the understanding of the history and importance of entering the Commemorative Area through the existing Main Building entrance.
e. Train staff and volunteers in time for the completion of construction, and for the remainder of the duration of this approval, to assist visitors to understand and appreciate the importance of the existing Main Building entrance. |
Original | 13. To minimise the impacts of the action on protected matters, the approval holder must use materials sympathetic in colour, finish and design to the Australian War Memorial's existing built heritage fabric and vistas for all new buildings and extensions. |
dated 10 | |
December | |
2020 | |
As varied on the date this instrument was signed | 14. To minimise the impacts of the action on protected matters, the approval holder must:
|
| i. C.E.W Bean Building extension and Research Centre building finishes and heights |
| ii. New Anzac Hall building and roof finishes |
| iii. Glazed Link roof material and finish |
| iv. Handrail design and finish at Main Building front entry stairs |
| v. Glazed link attachment to Main Building |
| vi. Oculus detail design and handrail finish |
| vii. Glass lift detail design |
| viii. Final Parade Ground layout |
| ix. Final design of any other currently unresolved detailing |
| The approval holder must notify the Minister in writing of the final design and/or finishes of each of the above listed elements prior to, and as submitted for, NCA approval. The final design of the above listed elements must be included in the Heritage Impact Assessment required by condition 6. |
| The approval holder must provide written evidence that the design and/or finishes are supported by the NCA prior to commencing construction of each element detailed above. |
| Any specific detailed design changes required to satisfy NCA requirements must be fully documented and an updated HIA prepared in accordance with condition 6 and provided to the Department prior to construction of that element. |
| b. Finalise the building design for the two new spiral staircases within the Main Building, that form part of the Southern Entrance portion of work prior to the commencement of construction of that element and submit the final design to the Minister. The Heritage Impact Assessment required by condition 6 must include an assessment of the final design of the internal stairs. |
As varied on the date this | 15. To minimise the impacts of the action on protected matters, the approval holder must: |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
instrument was signed |
|
Original | 16. To minimise impacts on protected matters the approval holder must re- use and repurpose as much of the original Anzac Hall building material as practicable consistent with the National Waste Action Plan 2019. |
dated 10 | |
December | |
2020 | |
Original dated 10 December 2020 | 17. To minimise impacts of the action on protected matters, the approval holder must:
a. Ensure that all works to the Australian War Memorial maintains the nature of commemoration identified In Criterion (b) of the Natlonal Heritage values of the Australlan War Memorlal and the Memorial Parade and the Commonwealth Heritage values of the Australian War Memorial. This is recognised in equal parts in the relationship between the building, the collection of objects and records and the commemorative spaces. |
| b. Update the Heritage Impact Assessment required by condition 6 within 18 months of the commencement of construction to demonstrate how the finalised site and gallery plan will maintain the nature of commemoration identified in Criterion (b) of the National Heritage values of the Australian War Memorial and the Memorial Parade and the Commonwealth Heritage values of the Australian War Memorial. The updated Heritage Impact Assessment must be submitted to the Minister for approval. The approval holder must implement the approved Heritage Impact Assessment. The approved Heritage Impact Assessment must be made publicly available on the website for the duration of this approval. |
| c. Provide in writing to the Minister in each report required by condition 23, any significant changes to the commemorative spaces (i.e. removal or addition of commemorative spaces) undertaken during or proposed in the period that is the subject of the report and how the relationship between the elements of criterion (b) is being maintained. |
Original | 18. To minimise the impacts of the action on protected matters, the approval holder must implement the revised Parade Ground layout with an area of gravel consistent with the existing Parade Ground area and stone terraced seating not exceeding the lengths shown in Figure 3. |
dated 10 | |
December | |
2020 | |
| Part B – Standard administrative conditions |
Original dated 10 | Notification of date of commencement of the action |
December 2020 | 19. The approval holder must notify the Department in writing of the date of commencement of the action within 10 business days after the date of |
| commencement of the action. |
Original dated 10 December 2020 | 20. If the commencement of the action does not occur within 10 years from the date of this approval, then the approval holder must not commence the action without the prior written agreement of the Minister. |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
Original dated 10 December 2020 | Compliance records
21. The approval holder must maintain accurate and complete compliance records. |
Original dated 10 December 2020 | 22. If the Department makes a request in writing, the approval holder must provide electronic copies of compliance records to the Department within the timeframe specified in the request.
Note: Compliance records may be subject to audit by the Department or an independent auditor in accordance with section 458 of the EPBC Act, and or used to verify compliance with the conditions. Summaries of the result of an audit may be published on the Department's website or through the general media. |
Original dated 10 December 2020 | Annual compliance reporting
23. The approval holder must prepare a compliance report for each 12-month period following the date of commencement of the action, or otherwise in accordance with an annual date that has been agreed to in writing by the Minister. The approval holder must:
following the relevant 12-month period;
b. notify the Department by email that a compliance report has been published on the website and provide the weblink for the compliance report within five business days of the date of publication including documented evidence of the date of publication;
c. keep all compliance reports publicly available on the website until this approval expires;
d. exclude or redact sensitive data from compliance reports prior to publishing them on the website; and
e. where any sensitive data has been excluded from the version published, submit the full compliance report to the Department within 5 business days of publication.
Note: Compliance reports may be published on the Department's website. |
Original dated 10 December 2020 | Reporting non-compliance
24. The approval holder must notify the Department in writing of any: incident; or non-compliance with the conditions. The notification must be given as soon as practicable, and no later than two business days after becoming aware of the incident or non-compliance. The notification must specify:
b. a short description of the incident and/or non-compliance; and
c. the location (including co-ordinates), date, and time of the incident and/or non-compliance. In the event the exact information cannot be provided, provide the best information available. |
Original dated 10 December 2020 | 25. The approval holder must provide to the Department the details of any incident or noncompliance with the conditions as soon as practicable and no later than 10 business days after becoming aware of the incident or non- compliance, specifying: |
Date of decision | ANNEXURE A – CONDITOINS OF APPROVAL |
|
b. the potential impacts of the incident or non-compliance; and
c. the method and timing of any remedial action that will be undertaken by the approval holder. |
Original dated 10 December 2020 | Independent audit
26. The approval holder must ensure that independent audits of compliance with the conditions are conducted as requested in writing by the Minister. |
Original dated 10 December 2020 | 27. For each independent audit, the approval holder must:
b. only commence the independent audit once the audit criteria have been approved in writing by the Department; and
c. submit an audit report to the Department within the timeframe specified in the approved audit criteria. |
Original dated 10 December 2020 | 28. The approval holder must publish the audit report on the website within 10 business days of receiving the Department's approval of the audit report and keep the audit report published on the website until the end date of this approval. |
Original dated 10 December 2020 | Completion of the construction
29. Within 20 days after whichever is the earlier of:
b. 60 business days before the end date of the period for which this approval has effect,
if construction of the action has been completed within the period for which the approval has effect, the approval holder must notify the Department in writing of the date of the completion of construction and provide completion data; or
if the completion of construction is unlikely to occur before the end date of the period for which the approval has effect, the approval holder must submit to the Department, before the end date of the period for which the approval has effect, a request, in accordance with the requirements of section 145C of the EPBC Act, to extend the period of effect of the approval. |
Date of decision | Part C - Definitions attached to approval
In these conditions, except where contrary intention is expressed, the following definitions are used: |
Original dated 10 December 2020 | Approval Holder means the person to whom this approval is granted, or the person as transferred under section 145B of the EPBC Act. |
Date of decision | Part C - Definitions attached to approval
In these conditions, except where contrary intention is expressed, the following definitions are used: |
Original dated 10 December 2020 | Australian Heritage Council means the Australian Heritage Council as established under section 4 of the Australian Heritage Council Act 2003. |
Original dated 10 December 2020 | Business day(s) means a day that is not a Saturday, a Sunday or a public holiday in the state or territory of the action. |
Original dated 10 December 2020 | Clearing/Clearance means the cutting down, felling, thinning, logging, removing, killing, destroying, poisoning, ringbarking, uprooting or burning of vegetation (but not including weeds- see the Australian weeds strategy 2017 to 2027 for further guidance) |
Original dated 10 December 2020 | Commemorative Area means the area at the top of the main stairs of the original front entrance to the Main Building consisting of the Men in Gate Lions, the Commemorative Courtyard, Pool of Reflection, the Eternal Flame, the Roll of Honour and the Commemorative Roll. |
Original dated 10 December 2020 | Commencement of the action/commence the action means the first instance of any activity associated with the action including final design phase, clearing and construction. Commencement of the action does not include minor physical disturbance necessary to:
b. install signage and /or temporary fencing to prevent unapproved use of the project area;
c. protect environmental and property assets from fire, weeds and pests, including erection of temporary fencing, and use of existing surface access tracks;
d. install temporary site facilities for persons undertaking pre-commencement activities so long as these are located where they have no impact on the protected matters; and
e. undertaking geotechnical investigations if it causes only minor physical ground disturbance and is required well in advance of most site works to inform design. |
Original dated 10 December 2020 | Commonwealth Heritage Management Principles means the guiding framework for excellence in managing heritage properties. They set the standard and the scope of the way places should be managed in order to protect heritage values for future generations. These principles should be used when preparing and implementing management plans and programs. In the absence of a management plan, they should guide the management of heritage values of a property: Commonwealth Heritage Management Principles. |
Original dated 10 December 2020 | Commonwealth Heritage values of the Australian War Memorial means the Commonwealth Heritage listed values of the place: Commonwealth Heritage values of the Australian War Memorial. |
Original dated 10 December 2020 | Commonwealth Heritage values of the Parliament House Vista means the Commonwealth Heritage listed values of the Parliament House vista: Commonwealth Heritage values of the Parliament House Vista. |
Date of decision | Part C - Definitions attached to approval
In these conditions, except where contrary intention is expressed, the following definitions are used: |
Original dated 10 December 2020 | Completion data means a report and spatial data clearly detailing how the conditions of this approval have been met. The Department's preferred spatial data format is shapefile. |
Original dated 10 December 2020 | Completion of construction means all activities associated with construction have permanently ceased. |
Original dated 10 December 2020 | Compliance records means all documentation or other material in whatever form required to demonstrate compliance with the conditions of approval in the approval holder's possession or that are within the approval holder's power to obtain lawfully. |
Original dated 10 December 2020 | Compliance report(s) means written reports:
ii. consistent with the Department's Annual Compliance Report Guidelines (2014 ); and
iii. that include a shapefile of any clearance of any protected matters, or their habitat, undertaken within the relevant 12-month period. |
Original dated 10 December 2020 | Construction means the erection of a building or structure that is or is to be fixed to the ground and wholly or partially fabricated on-site; the alteration, maintenance, repair or demolition of any building or structure; preliminary site preparation work which involves breaking of the ground (including pile driving); the laying of pipes and other prefabricated materials in the ground, and any associated excavation work; but excluding the installation of temporary fences and signage. Construction does not include geotechnical studies. |
Original dated 10 December 2020 | Department means the Australian Government agency responsible for administering the EPBC Act. |
Original dated 10 December 2020 | EPBC Act means the Environment Protection and Biodiversity Conservation Act 1999 (Cth). |
Original dated 10 December 2020 | Fabric means all the physical material of an item which contributes to its heritage significance. |
Original dated 10 December 2020 | Forecourt refers to the paved area at the base of the main stairs leading to the original Main Building entrance. |
Original dated 10 December 2020 | Glazed Link means the glass walled structure between the rear of the Main Building and the new Anzac Hall. |
Original dated 10 December 2020 | lmpact(s) (verb) means to cause any measurable direct or indirect disturbance or harmful change as a result of any activity associated with the action. Impact (noun) means any measurable direct or indirect disturbance or harmful change as a result of any activity associated with the action. |
Original dated 10 December 2020 | Incident means any event which has the potential to, or does, impact on one or more protected matter(s) other than authorised by this approval. |
Date of decision | Part C - Definitions attached to approval
In these conditions, except where contrary intention is expressed, the following definitions are used: |
Original dated 10 December 2020 | Independent audit(s) means an audit conducted by an independent and suitably qualified person as detailed in the Environment Protection and Biodiversity Conservation Act 1999 Independent Audit and Audit Report Guidelines (2019). |
Original dated 10 December 2020 | Landscape and Public Realm means the works to the surrounding landscape of the site including modifications to pathways and plantings, external seating and small shade structures and changes to onsite road layout. |
Original dated 10 December 2020 | Main Building means the original sandstone Memorial building built in 1941. |
Original dated 10 December 2020 | Minister means the Australian Government Minister administering the EPBC Act including any delegate thereof. |
Original dated 10 December 2020 | National Heritage Management Principles means the guiding framework for excellence in managing heritage properties. They set the standard and the scope of the way places should be managed in order to protect heritage values for future generations: National Heritage Management Principles. |
Original dated 10 December 2020 | National Heritage values of the Australian War Memorial and the Memorial Parade means the National Heritage listed values of the place: national heritage values of the Australian War Memorial and the Memorial Parade. |
Original dated 10 December 2020 | New Southern Entrance means the proposed works at the front, within and below the existing Main Building entrance. |
Original dated 10 December 2020 | National Waste Action Plan 2019 means the targets and actions to implement the 2018 National Waste Policy: National Waste Action Plan 2019. |
Original dated 10 December 2020 | Parliament House Vista means the Commonwealth Heritage listed views from Parliament House: Commonwealth Heritage values of the Parliament House Vista. |
Original dated 10 December 2020 | Photographic Recording of Heritage Items Using Film or Digital Capture (NSW Heritage Office, 2006) means the publication providing guidelines for making a photographic record of sites, buildings, structures and movable items of heritage significance, published by the NSW Government: Photographic Recording of Heritage Items Using Film or Digital Capture (NSW Heritage Office, 2006. |
Original dated 10 December 2020 | Protected matter(s) means a matter protected under a controlling provision in Part 3 of the EPBC Act for which this approval has effect. For this approval protected matters are:
|
Date of decision | Part C - Definitions attached to approval
In these conditions, except where contrary intention is expressed, the following definitions are used: |
| values of the Australian War Memorial and the Commonwealth Heritage values of the Parliament House Vista. |
Original dated 10 December 2020 | Sensitive data includes locations of sensitive heritage items, names and addresses of people consulted on heritage matters unless permission is sought from the parties consulted. |
Original dated 10 December 2020 | Shapefile means location and attribute information of the action provided in an Esri shapefile format. Shapefiles must contain '.shp', '.shx', '.dbf' files and a '.prj' file that specifies the projection/geographic coordinate system used. Shapefiles must also include an '.xml' metadata file that describes the shapefile for discovery and identification purposes. |
Original dated 10 December 2020 | Suitably qualified expert means a person who has professional qualifications and at least three (3) years of work experience designing and implementing heritage renovation and restoration of masonry buildings, and can give an authoritative assessment and advice on the methods for recording prior to disassembly, safe storage of components and successful reinstatement using relevant protocols, standards, methods and/or literature. |
Original dated 10 December 2020 | Suitably qualified heritage landscape architect means a person who has professional qualifications and at least three (3) years of work experience designing and implementing landscape designs for heritage places, and can give an authoritative assessment and advice on the heritage value of the landscape design using relevant protocols, standards, methods and/or literature. |
Original dated 10 December 2020 | Suitably qualified person means a person who has professional qualifications, training, skills and/or experience related to the nominated subject matter and can give authoritative independent assessment, advice and analysis on performance relative to the subject matter using the relevant protocols, standards, methods and/or literature. |
Original dated 10 December 2020 | Towers are the two sandstone columns that form part of the Main Building, standing either side of the original Main Building entrance. |
Original dated 10 December 2020 | Website means a set of related web pages located under a single domain name attributed to the approval holder and available to the public. |
Date of decision | APPENDICES |
As varied on the date this instrument was signed | APPENDIX A1- Underpinning methodology and stone removal and reinstatement description |
Original dated 10 December 2020 | APPENDIX A2- Visual Representation and description of proposed external glass lift (from Attachment G4 of the final Preliminary Documentation, September 2020) |
Original dated 10 December 2020 | APPENDIX B1- Drawings showing maximum height of Anzac Hall roof and Glazed Link roof (from Attachments H1 of the final Preliminary Documentation, September 2020). |
Original dated 10 December 2020 | APPENDIX B2- Description of technical issues received (from Attachment H2 of the final Preliminary Documentation, September 2020). |
Original dated 10 December 2020 | APPENDIX B3 - Architectural response to technical issues received (from Attachment H3 of the final Preliminary Documentation, September 2020). |
Original dated 10 December 2020 | APPENDIX B4- Details of design improvements to Glazed Link attachment to Main Building (from Attachment H4 of the final Preliminary Documentation, September 2020) |
Date of decision | Figure 1: Hollow bearing tree to be removed (in red box) |
Original dated 10 December 2020 | |
|
|
Date of decision | Figure 2: Known Indigenous Heritage site (unlisted) to be protected during construction– marked as AWM 1 |
Original dated 10 December 2020 |
Date of decision | Figure 3: Parade Ground design changes – removed areas in red, added areas in green |
Original dated 10 December 2020 |
|
Executive Summary
This heritage management plan for Anzac Parade, Canberra, provides a sound basis for the good management and conservation of this place and its heritage significance. The plan:
ral
Anzac Parade is entered on the National Heritage List and the Commonwealth Heritage List under the Environment Protection and Biodiversity Conservation Act 1999, as a key part of larger heritage places. These listings protect the heritage values of the place, and impose a number of obligations including the need to prepare a management plan.
Anzac Parade (the National Heritage section between Constitution Avenue and the Australian War Memorial) is of outstanding heritage value because of its importance in Australia’s history, as a rare form of commemoration of the relationship between Australia and New Zealand, for its aesthetic qualities, its creative achievement, social values and special associations. Many of these values are shared with or related to the adjacent Australian War Memorial, and the Parade and Memorial are a single National Heritage place. Anzac Parade also makes a substantial contribution to the Commonwealth Heritage values of the Parliament House Vista area, and is part of the Land Axis which is one of the two principal axes for the original design of the national capital.
The conservation policy and implementation strategies cover a wide range of matters including:
Key policies and strategies are provided related to:
A review of the conservation policy in the heritage management plan for the Australian War Memorial (GML Heritage 2022) found that it complemented the policy for Anzac Parade provided in this plan. There are no apparent inconsistencies or gaps in policy coverage between the two plans.
Contents
Executive Summary..........................................i
1. Introduction..............................................1
1.1 Background and Project Objectives
1.2 Conduct of Project
1.3 Purpose of report
1.4 Limitations and non-conforming aspects
1.5 Consultants
1.6 Acknowledgments
2. Location and Description......................................6
2.1 Location and boundaries
2.2 Description and Condition
2.3 Associated places
3. Overview History..........................................23
3.1 Introduction
3.2 Social, Planning and Political History after European Settlement
3.3 Landscape history
4. Evidence of Community-Based Values............................59
4.1 Introduction
4.2 Review of Existing Data
4.3 Engagement with Associated Communities
4.4 Review of Artistic and Creative Sources
4.5 Review of Tourism Imagery
4.6 Events and activities
4.7 Community perceptions, meanings and associations
5. Evidence of Other Values....................................107
5.1 Expert-Based Values – Aesthetics and Creative Achievement
5.2 Scientific Value
6. Analysis of Evidence.......................................111
6.1 Introduction to Analysis
6.2 Analysis against Criteria
7. Statement of Significance....................................125
7.1 Statement of Significance
7.2 Attributes related to significance
8. Development of Policy – Opportunities and Constraints...............131
8.1 Implications Arising from Significance
8.2 Legislative Requirements
8.3 Stakeholders
8.4 Management context, requirements and aspirations
8.5 Condition and integrity
8.6 Issues related to the broader setting
9. Conservation Policy and Implementation Strategies.................160
9.1 Objective
9.2 Definitions
9.3 Conservation Management Policy and Implementation Strategies
9.5 Implementation plan
10. Bibliography.............................................195
Appendix A: Key Heritage Citations................................203
Appendix B: Project Brief.......................................223
Appendix C: Community-Based Values Research Methods................228
Appendix D: Framework for Assessing Heritage Significance..............238
Appendix E: Key Extracts from the National Capital Plan................240
Appendix F: Burra Charter......................................241
Appendix G: Compliance with National Heritage Management Principles and Requirements for Management Plans under the EPBC Regulations 253
Appendix H: Management Plan Review
1. Introduction
1.1 Background and Project Objectives
Anzac Parade (the Parade) is an extensive area in central Canberra which has been entered in the National Heritage List and the Commonwealth Heritage List, as part of larger heritage places. In particular, it is a major part of the Australian War Memorial and the Memorial Parade which is on the National Heritage List.
In accordance with section 324S of the Environment Protection and Biodiversity Conservation Act 1999, a management plan for the place must be prepared. The National Capital Authority manages Anzac Parade on behalf of the Commonwealth, and this heritage management plan has been prepared to assist the Minister for the Environment regarding this legislative obligation. This plan is an update of a 2013 version, and takes into account a review of the earlier plan undertaken in accordance with section 324W of the EPBC Act.
However, this management plan is more than just a legislative obligation. It is intended to help guide the conservation management of the area as a living and working document, especially with regard to changes that are or may be proposed, or which will inevitably arise.
The other part of the National Heritage place is the Australian War Memorial, and a heritage management plan has been prepared for that part (GML Heritage 2022). The management plan for the Parade has been prepared to compliment the plan for the Memorial, and it strives to achieve comprehensive conservation management for the whole National Heritage place.
Anzac Parade is also a key part of the Parliament House Vista which is on the Commonwealth Heritage List. The Commonwealth Heritage values of the Vista are provided at Appendix A. A heritage management plan for the Vista has been prepared (Marshall and others 2010b), and it has been drawn-upon as appropriate in the development of this plan for Anzac Parade.
This heritage management plan focuses on the National Heritage values of Anzac Parade, and it does not consider other values, such as Commonwealth Heritage values. To the extent other values exist, these are considered by the Parliament House Vista heritage management plan.
While most of Anzac Parade is the subject of this study, not all of it is included, as explained in Chapter 2.
A copy of the National Heritage List place record for the Australian War Memorial and the Memorial Parade, as well as the Commonwealth Heritage List place record for the Parliament House Vista, are reproduced at Appendix A.
A copy of the project brief is provided at Appendix B.
This heritage management plan is the same as a conservation management plan – the term more widely used in the heritage industry.
Key general definitions
Conservation | In this report, the term conservation is generally used to mean, ‘all the processes of looking after a place so as to retain its cultural significance’ (Australia ICOMOS 2013, Article 1.4). These processes include maintenance, preservation, restoration, reconstruction and adaptation. This definition derives from the Burra Charter.
In accordance with the EPBC Act 1999, the broad nature of cultural significance also has to be appreciated. It includes not only the physical elements of a place (for example the architecture or landscape) but can also include intangible values such as historical associations, traditional use and community attachment. Conservation has to take all of these values into account. (See for example the National Heritage criteria at 10.01A of the EPBC Regulations 2003 (No. 1) and the requirements for management plans at 10.01C of the regulations.)
One of the principles underpinning the Burra Charter is a recognition that heritage places change through time for a variety of reasons. Good heritage practice manages this change with the objective of retaining cultural significance. It does not necessarily seek to freeze a place in time, nor turn every place into a museum. (See for example Australia ICOMOS 2013, Articles 1.9, 3.2, 15, 21, 22 and 27.)
|
Land Axis Corridor (Anzac Parade section) | The east and west boundaries of the Land Axis corridor related to Anzac Parade is defined by the boundaries of Anzac Park, being the planted linear parks lining either side of Anzac Parade but not including the roads Anzac Park East and West. |
1.2 Conduct of Project
Overview
As a project to review and update the 2013 heritage management plan, the earlier plan provides the basis for the current plan. The methodology adopted for this plan is in accordance with the Burra Charter (Australia ICOMOS 2013). This can be summarised as a series of steps as shown in Figure 1 below.
In order to follow these steps and prepare this management plan and the earlier version, a range of consultations, research, inspections and analyses were undertaken. Importantly, the assessment of significance relied upon:
This work provided a sound understanding of the place, and led to the preparation of a statement of significance. This work also provided an understanding of the constraints and opportunities related to the current and future management of the place. An important aspect were site inspections to assess the condition of the place, partly to consider impacts on heritage values. These were carried out in a non-invasive manner to assess the integrity of features.
The statement of significance and the information about constraints and opportunities were used as the basis for developing conservation policies and implementation strategies.
Figure 1. Basic Steps of Conservation Management Planning Source: Summarised from Australia ICOMOS 2013
|
In some cases, the information in the earlier plan was reviewed and found to be satisfactory for the current plan. In other cases, the text was updated given the passage of time and other changes. Some information from the 2013 plan reflects views and sources at that time, and some details or references may have changed. For example, the evidence of community-based values, Chapter 4, derives from research undertaken for the earlier version of the plan. Given the conclusions based on this information are still thought to be generally valid, those details and references have not been updated.
The update was also informed by the management plan review. Details of the review can be found at Appendix H.
Report structure
This heritage management plan:
Public consultation
In accordance with the Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act) and the NCA’s commitment to community engagement, the draft heritage management plan was made available for public comment from 24 April until 24 May 2021.
Notices were placed in the Canberra Times and The Australian on 24 April 2021 notifying the general public of the project, and the opportunity to comment. The draft plan was publicly available on the NCA’s website, and key stakeholders were notified in writing.
As a result of this process, seven sets of written comments were provided. In response to these comments, a number of modifications were made to the plan.
1.3 Purpose of Report
The purpose of this report is to provide a management plan for the memorial part of Anzac Parade, to compliment that for the Australian War Memorial, as the two parts of a single National Heritage place. The report is in accordance with the obligations under the EPBC Act, including an understanding of its heritage values (Chapter 6), and conservation policies and implementation strategies for its future management (Chapter 8).
1.4 Limitations and Non-Conforming Aspects
The following factors limited the work undertaken as part of preparing this report:
While not a limitation as such, it is worth stressing that this plan does not consider in detail every possible place of individual significance within the area, such as the many memorials. The plan focuses on the overall place. To the extent there may be components within the area with specific and individual values not related to the overall place, then these generally await more detailed study as part of some other conservation process.
This management plan conforms with the Burra Charter (Australia ICOMOS 2013) and there are no non-conforming aspects to note.
1.5 Consultants
The 2013 plan was prepared by Duncan Marshall, Geoff Butler (Geoff Butler & Associates), Craig Burton (CAB Consulting Pty Ltd), Chris Johnston (Context Pty Ltd), Dr David Young, and Dr Michael Pearson (Heritage Management Consultants Pty Ltd).
The updated plan has been prepared by:
1.6 Acknowledgments
The consultants wish to acknowledge the kind assistance of the following people and organisations for their help in preparing the current plan.
Ilse Wurst National Capital Authority
Jen Dunn National Capital Authority
Lily Black National Capital Authority
Peter Beutel National Capital Authority
Melanie Dodd Australian War Memorial
Steve Gudgeon Australian War Memorial
Suzanne Hannema National Capital Authority
Michelle Jeffrey National Capital Authority
Jana Johnson Australian War Memorial
Carly Lowe National Capital Authority
Duncan MacLennan National Capital Authority
Matthew Rose Australian War Memorial
Rob Tindal National Capital Authority
2. Location and Description
2.1 Location and Boundaries
Anzac Parade is a relatively large area or corridor located on the north side of Lake Burley Griffin in the central part of Canberra.
The boundaries for this area are generally the whole of Anzac Parade, including Anzac Park, from Constitution Avenue to the block boundary of the Australian War Memorial. The Anzac Park East and Anzac Park West road reservations are not included, nor are respectively the eastern and western verges of the road reservations which are contiguous with Anzac Park. Accordingly, while the verges appear to be part of Anzac Park when viewed on site, in fact they are not part of the National Heritage place.
A short section of Anzac Parade between Constitution Avenue and Parkes Way is also not included in the National Heritage listed area, and is not in the study area considered in this plan. None the less, this section is considered as part of the setting for the place.
The blocks and sections included are:
In addition, there are a number of road reservations included within the study area.
The contextual boundaries or the setting for the area are much larger and include:
The implications of this setting are discussed later in this report.
Figure 2. Location Plan for Anzac Parade in the context of the Parliament House Vista area
Source: Department of Sustainability, Environment, Water, Population and Communities 2008
Figure 3. Block and Section Plan/Aerial Image for Anzac Parade – study area highlighted (red dashed line)
Source: Base image ACTMAPi
Figure 4. Boundary of the Australian War Memorial and the Memorial Parade National Heritage place (purple line)
Source: Department of the Environment
Figure 5. Plan of Anzac Parade – individual memorials shown in red
Source: NCA
2.2 Description and Condition
This section begins with an overview of the Parliament House Vista, as the larger heritage landscape which includes Anzac Parade. This is followed by a brief description of the broader landscape surrounding the Parade, and then information about the landscape and built components of Anzac Parade itself, including in particular the memorials. The section concludes with general comments about the condition of Anzac Parade.
Overview of the Parliament House Vista
The Parliament House Vista area is a large, eccentrically shaped area. The southern part is the triangular Parliamentary Zone (excluding new Parliament House), the central part is the Central Basin of Lake Burley Griffin and the fringing parks on the northern shore, and the northern part is the long thin strip of land about Anzac Parade which terminates in a roughly triangular area containing the Australian War Memorial. The dominating landscape feature is the Land Axis running through all of these parts, and there is a broad symmetry to the area about the axis.
Figure 6. Aerial view of the Parliament House Vista and environs with Anzac Parade highlighted Source: ACTmapi |
The Land Axis is both a visual and physical element in the design of Canberra, and runs from Mount Bimberi in the Brindabella Ranges in the southwest to Mount Ainslie in the northeast. The Land axis within central Canberra is defined by tree plantations on either side of the land corridor and a central space with several different land surface treatments, and changes of level, to conceptually link Capital Hill with Mount Ainslie.
The surface treatment of the Land Axis within the Vista has been integrated into the different precincts, mostly grass or water, with the exception of the northern and southern foreshores of Lake Burley Griffin, and Anzac Parade.
The Land Axis corridor is most strongly defined as a formal landscape treatment in Anzac Parade.
The Parliamentary Zone comprises a complex hierarchical landscape pattern of roads, mature trees and lawn areas, with major institutional and government office buildings, and gardens located as isolated features within the zone. This part has a number of cross axes.
The broader landscape surrounding Anzac Parade
Anzac Parade sits within a larger landscape area or setting which is an important context for it. This setting includes:
Figure 7. Aerial view of the Parliament House Vista looking north with Anzac Parade and Mount Ainslie top right Source: NCA |
Anzac Parade – National Heritage listed section
This northern part of the Land Axis, where it intersects with the upper slopes of the Molonglo River Valley, has been physically expressed through Charles Weston’s planting and pavement patterns since the early 1920s as Prospect Parkway and Place, and subsequently Anzac Parade in association with the siting of the Australian War Memorial.
Anzac Parade has a central paved median of red gravel (crushed brick) with formal, symmetrically located raised concrete planter boxes with Hebe species, which were re-planted during 2012. The median is broken in its length by an intersecting cross road.
On either side of the central avenue are three-lane bitumen-surfaced roads. These are in turn flanked by a zone of irrigated grass defined by kerbing on the roadside and a parallel concrete path and retaining walls upslope. The latter define the outermost zone of Eucalyptus tree plantation (now roughly three rows) with a mulched understorey and patches of non-irrigated grass species.
Figure 8. Anzac Parade from southwest Source: Duncan Marshall |
Rectangular areas of red gravel in the Anzac Park sections create cross axes, and mark an existing memorial or the site for a future memorial.
Anzac Parade has a strong relationship with the forecourt of the Australian War Memorial, outside the study area.
The treed plantation on either edge of the Land Axis reinforces the vista in both directions: to the northeast that of the Australian War Memorial set against Mount Ainslie; and to the southwest a reflective sliver of Lake Burley Griffin, and the Parliamentary/ Government complex set against Red Hill, with the Brindabella Range and Mount Bimberi beyond.
The strong formality of the landscape of the Anzac Parade composition contrasts with some other areas in the central Canberra landscape.
The Parade is home to 13 memorials related to military service. These are located within terraced niches or landscape rooms of varied treatment and composition formed within the tree plantations either side of the Parade, with most niches having a crushed brick paved area fronting the roadway. The two memorials closest to the Australian War Memorial do not have such paved areas. The existing memorials are described separately below. In addition, there are two niches currently without memorials.
Anzac Parade contains a range of other built elements including:
Figure 9. Typical concrete wall and timber seat on Anzac Parade with the Australian Service Nurses National Memorial in the background Source: Duncan Marshall |
Memorials
The following brief description of the 13 existing memorials has been drawn from the NCA’s website (www.nca.gov.au/anzac).
Australian Hellenic Memorial
The design includes a marble memorial which recalls the shape of an amphitheatre amidst an olive grove. The Doric column symbolises the birth of civilisation. This column is also embossed with the cross of the Greek Orthodox Church, representing a soldier's grave. The column stands on a mosaic pavement which represents the rugged coastline and terrain of the battlefields. The damaged steel fragment reflects the futility and destruction of war.
Figure 10. Australian Hellenic Memorial Source: Duncan Marshall
|
Australian Army National Memorial
The central focus of the memorial is two bronze figures representing Australian soldiers facing east towards the rising sun. The figures stand on a raised podium paved in a radial pattern, which refers to the Army insignia.
Seven cylindrical pillars recall the seven major conflicts in which the Australian Army has been involved in the twentieth century. The pillars stand in water, reminding the visitor of the long sea journeys involved in all Australian campaigns.
Figure 11. Australian Army National Memorial Source: Duncan Marshall
|
Australian National Korean War Memorial
The design characterises the period of the Korean War. The use of white and grey tones in the memorial, and granite and gravel, recall the harsh climate and terrain in Korea – lasting impressions of those who fought there.
A central walkway leads to a semi-enclosed contemplative space. A boulder from a Korean battlefield is a commemorative focal point and a word in Korean script represents 'Peace and Independence'. A scroll recognises the 21 countries that committed combat or medical units to the United Nations Command. On both sides of the memorial are bronze figures representing the Australian sailors, soldiers and airmen who served in Korea. Battlefield boulders are set in fields of stainless steel poles which symbolise those who died.
The obelisk commemorates those who died with no known grave. The inscription, taken from the United Nations Memorial Cemetery, Pusan, is a poignant link with the Australians who are buried there.
Figure 12. Australian National Korean War Memorial Source: Duncan Marshall
|
Australian Vietnam Forces National Memorial
Three concrete stelae, rising from a shallow moat, form the dramatic centre of the memorial and enclose a space for quiet contemplation. Fixed to the inner right-hand wall are 33 inscriptions, a series of quotations intended to recall events of political, military and emotional importance. The photograph etched into the rear wall shows Australian soldiers waiting to be airlifted to Nui Dat after the completion of Operation Ulmarrah. A suspended granite ring contains a scroll bearing the names of those Australians who died in the conflict. Surrounding the memorial are six seats dedicated to the memory of the six Vietnam servicemen missing in action.
Figure 13. Australian Vietnam Forces National Memorial Source: Duncan Marshall
|
Desert Mounted Corps Memorial
The Desert Mounted Corps Memorial is a free-standing, cast bronze figurative sculpture, set on a granite base. It depicts a mounted Australian Light Horseman defending a New Zealander who stands beside his wounded horse.
Figure 14. Desert Mounted Corps Memorial Source: Duncan Marshall
|
Figure 15. Boer War Memorial Source: Duncan Marshall
|
Boer War Memorial
Four bronze mounted horsemen in a stony landscape are the centrepiece of the artwork, posed dynamically and as if caught in a moment of the conflict. Along the top of a blue-copper commemorative wall are nine bronze replica journals, which are excerpts from letters detailing the experience of the Boer War as written by Private F H Booth, 2nd Victorian Mounted Rifles. Another blue-copper wall provides a backdrop to the overall memorial.
New Zealand Memorial
The New Zealand Memorial is located on a pair of flanking sites at the southwestern (Constitution Avenue) end of Anzac Parade.
The design of the memorial consists of a bronze representation of the handles of a flax basket (kete harakeke). They are 11 metres high and stretch as if to cross Anzac Parade. Woven flax is a particularly strong element in New Zealand culture.
The design is based on a traditional Maori proverb 'Mau tena kiwai o te kete, maku tenei' ('each of us at a handle of the basket'). The proverb concerns sharing of responsibilities and joint effort to achieve a common goal. The basket handles symbolise co-operation, mutual experiences and sharing the load.
At the base of each handle is a paved gathering space, which are landscaped areas with Maori and Aboriginal artworks. On the western side of Anzac Parade is the Australian side of the Memorial. The eastern side of the Memorial is the New Zealand side, and the paving design is based on the whakatu weaving pattern of a flax basket.
At the centre of the paving on each side is buried soil from Gallipoli, the birth of the ANZAC tradition, and the names of the campaigns where New Zealanders and Australians fought together are inscribed on the paving.
Figure 16. New Zealand Memorial Source: Duncan Marshall
|
Australian Peacekeeping Memorial
This memorial commemorates the significant contribution made ‘in the service of peace’ by Australian peacekeepers – military, police and civilian – to United Nations and other international peacekeeping missions since 1947.
The design includes a Commemorative Beam that lists all Australian peacekeeping missions. The beam sits at the back of a commemorative courtyard that includes sentiments and phrases describing the characteristics of peacekeeping operations. This courtyard is reached through a centrally lit passage between two tall, black monoliths. These represent the opposing factions and the passageway between is lit to reflect the peacekeepers who strive to bring these factions together. Flags, symbols and explanatory plaques within the memorial explain and identify the contributors and characteristics of Australian peacekeeping.
Figure 17. Australian Peacekeeping Memorial Source: Duncan Marshall
|
Rats of Tobruk Memorial
The memorial takes the form of an obelisk. Surrounding walls portray the perimeter defences and the design recalls the area in which the Tobruk siege took place. The coastline and harbour are to the front and the defence positions flank the rear of the memorial. The Eternal Flame is fabricated from bronze and was installed in 1984.
Figure 18. Rats of Tobruk Memorial Source: Duncan Marshall
|
Royal Australian Air Force Memorial
The memorial honours those who have served in the RAAF throughout its history. The memorial features three upsurging wing shapes in stainless steel representing the endurance, strength and courage of RAAF personnel. The bronze flight image at the centre of the composition embodies the struggle to conquer the elements. Inscribed on the plinth is the RAAF motto: Per ardua ad astra – Through adversity to the stars.
Three black granite walls behind the three wings frame the sculpture, with images and the poem ‘High Flight’ by John Gillespie Macree Jnr inscribed on them. Using archival images the artwork depicts the dedication and valour of the men and women of RAAF who have served Australia, and traces the major war episodes from 1915 to the present.
Figure 19. Royal Australian Air Force Memorial Source: Duncan Marshall
|
Australian Service Nurses National Memorial
This memorial is made of cast glass. Etched and cast into the inner glass walls are text and images, in a timeline sequence, portraying the history and contribution of Australian Service Nursing. The memorial also includes a collage of historical photographs and extracts from diaries and letters, in the original handwriting.
Some panels are blank. This is intentional, reminding visitors of the inconclusive nature of any memorial to an ongoing Service group. The memorial is distinctly horizontal and the form of the interlocking glass walls represents nurturing hands, symbolic of nursing. A contemplative space surrounded with rosemary for remembrance completes the memorial.
Among values reflected in the memorial are those of human dignity and worth, dedication in bringing succour and care, commitment beyond self, courage, companionship and fortitude.
Figure 20. Australian Service Nurses National Memorial Source: Duncan Marshall
|
Royal Australian Navy Memorial
Also known as 'Sailors and Ships – Interaction and Interdependence', this memorial reflects the mutual dependence of sailors and their ships.
Bronze figures feature in the memorial and convey the daily activities associated with naval life, while the geometric forms, such as an anchor chain, depict elements of a ship. The torrents of moving water complement the dynamic force of the work.
Figure 21. Royal Australian Navy Memorial Source: Duncan Marshall
|
Kemal Ataturk Memorial
The memorial consists of a crescent-shaped wall in a paved area, and five pillars, which reflect the crescent and star of the Turkish flag. On the pillars are a series of interpretive panels outlining the Gallipoli campaign and the role of Ataturk.
Centrally located on the wall is a bronze likeness of Ataturk. The inscription beneath – Ataturk’s own words – pays warm tribute to the Anzacs and reflects his understanding of the awful cost of war.
Soil from Anzac Cove at Gallipoli was placed beneath the dedication plaque in the centre of the circular pavement. Surrounding the memorial are pine trees – Pinus halepensis – grown from seed collected from the Gallipoli 'lone pine'.
Figure 22. Kemal Ataturk Memorial Source: Duncan Marshall
|
Condition of Anzac Parade – National Heritage listed section
This section provides information about the condition of the area, prior to consideration of the heritage significance of the place in the following chapters. It provides a general overview impression about condition as assessed by the consultants. Section 8.5 provides an analysis of condition and integrity related to the actual significance of the place.
The condition of Anzac Parade is generally fair to good, with the area being reasonably well maintained. The trees are in fair to good condition overall, with a small number being in fair/poor or poor condition. The understorey of native grasses is in variable condition, being poor where the tree canopy is heavy and competition is high. More detail about the trees and grasses can be found in Section 8.5.
The Hebe plants ‘Otari Delight’ which were planted in 2011-12 to replace earlier plantings have failed to thrive because of several soil-borne diseases and other contributing factors.
A general issue with a number of the memorials on the eastern side of the Parade is the transparency of the landscape behind the memorials, allowing clear views of the adjacent single storey residential and especially the multi-storey buildings. Such views distract from the memorials, and arise either because of weaknesses in the eucalypt plantation or other specific screen plantings associated with memorials. This is an issue for the following memorials: New Zealand Memorial – eastern part, Australian Peacekeeping Memorial, Rats of Tobruk Memorial and Royal Australian Navy Memorial.
Figure 23. Australian Peacekeepers Memorial with development in Campbell behind it Source: Duncan Marshall
|
Other general issues include:
The condition of the individual memorials has not been assessed or addressed in detail as part of this plan. None the less, a number of observations were made as part of the general inspections of the place. These observations are as follows:
2.3 Associated Places
Anzac Parade is associated with a number of overlapping places.
The National Heritage listed section of Anzac Parade is closely associated with the Australian War Memorial as the other component of the National Heritage place.
Anzac Parade is also associated with the Parliament House Vista, being part of the larger Commonwealth Heritage listed place.
The Parade is also part of the overall Land Axis.
In all of these cases, Anzac Parade has a strong and intimate association which is related to planning, landscape, views, history and social qualities.
Figure 24. Australian War Memorial on Remembrance Day 2011
Source: Duncan Marshall
3. Overview History
3.1 Introduction
This history is divided into two main parts which deal with the:
The first section offers a narrative framework which deals with the major social, planning and political elements of the story, and the landscape history section then summarises the landscape dimension of that story.
While the social/planning/political history and the landscape history each have a different emphasis, there is a small measure of overlap between these sections. This has been minimised but some remains in order to create linkages between these two aspects of the same overall story.
3.2 Social, Planning and Political History after European Settlement
Before Anzac Parade
Before the development of Canberra as the national capital, the area that was to become Anzac Parade was open paddocks on Robert Campbell’s ‘Duntroon’ property, with the St John’s Church and graveyard built in 1845 to the west, and the road from Scott’s crossing, on the Molonglo River, to Yass passing between St John’s and the back of what is now the western part of the New Zealand Memorial, crossing Anzac Parade south of the present Constitution Avenue intersection and running on through the Parkes Way intersection (see Figure 25 below).
Figure 25. Map of Canberra region, 1916 Source: NAA, CP277/1, part, reproduced in Reid 2002, p. 19
|
Figure 26. Plan of Anzac Parade showing 19th Century road and c.1920 railway line Source: Body 1986, drawn by J Goldsmith, 1984, in Marshall and others 2010a
Legend Canberra-Yass Road
|
One of the issues discussed at length during the Colonial conventions leading up to the Federation of the Australian colonies into the Commonwealth of Australia in 1901 was the matter of a national capital. Many initially assumed that either Melbourne or Sydney, as the largest cities in the proposed nation, would become the capital. The potential combination of economic and political power in one of the colonies, however, caused disquiet, and after much discussion, an inland site was specified in the Constitution for the new nation.
The basic decisions about who would choose the site, where the capital could be, and the nature of its land tenure, were embodied in Section 125 of the new Commonwealth Constitution,
‘The seat of Government of the Commonwealth shall be determined by the Parliament, and shall be within territory which shall have been granted to or acquired by the Commonwealth, and shall be vested in and belong to the Commonwealth, and shall be in the State of New South Wales, and be distant not less than one hundred miles from Sydney.
Such territory shall contain an area of not less than one hundred square miles, and such portion thereof as shall consist of Crown lands shall be granted to the Commonwealth without any payment therefor. The Parliament shall sit at Melbourne until it meet at the seat of Government.’
In the early years of the new nation, politicians and the general populace lobbied for their suggestion of a location for the federal capital. Albury, Armidale, Bombala, Canberra, Dalgety, Lake George, Lyndhurst, Orange, Tooma, Tumut and Yass-Canberra were all on the ballot taken in Parliament in October 1908, Yass-Canberra beating Bombala by 39 votes to 33 (Pegrum 1983, pp. 137-138).
By 1911 the proposed location was firmly enough established to enable an international competition for the design of the new capital to be advertised. The competition documentation included Scrivener’s survey maps and panoramic paintings of the Molonglo River valley. The only spatial directive in the competition conditions was that the parliamentary building ‘should be so placed as to become a dominating feature of the city’. The ‘panoramic value of the city surrounds’ and the prospects for ‘ornamental water’ were mentioned but were not specific requirements (Freestone 2010, p. 96).
137 competition entries were received from around Australia and the world. After a split decision by the Federal Capital Design Board, the Minister for Home Affairs, King O’Malley, followed the majority view and announced Walter Burley Griffin as the winner of the design competition for the federal capital. Eliel Saarinen won second place and Alfred Agache third.
‘unlike other competitors, the Griffins did not treat the Limestone Plains as a blank space, but responded sensitively to the natural features, integrating topography into the design. The plan was skilfully adapted to an ‘irregular amphitheatre’ rather than arbitrarily imposed on the site. As Peter Harrison observed, the ‘buildings are made important not so much by their size, height or architectural significance, but by their setting… it is not an architectural composition, but a landscape composition.’ (Freestone 2010, p. 96, quoting the Report of the Select Committee on the development of Canberra, 1955, p. 80)
Walter Burley Griffin’s winning design for Canberra, to an extent developed with Marion Mahony Griffin, had as its central geometric concept a triangle bisected by two axes at right angle, one being the Water Axis along his proposed lake, and the other the Land Axis, extending from Mount Ainslie through the apex of the triangle. The alignment of the Land Axis north of the lake was to become Anzac Parade. Griffin did not intend that the Land Axis should primarily be thoroughfares or roadways. Rather, it was to form ‘a connected park or garden frontage for all the important structures’ (Griffin 1913, p. 5).
On the northern side of the future lake, Griffin envisaged that the Land Axis would be ‘marked by a broad formal parkway to be maintained open in the centre and banked with foliage on the sides, setting off the residences’ (Griffin 1955, p. 98). It was the landscape element rather than any thoroughfare that defined the Land Axis from the northern lakeshore to Mount Ainslie. The Land Axis both north and south of the lake thus depended on correctly orientated buildings and plantings to give it definition. (Marshall and others 2010b, vol. 1, pp. 50-51)
Figure 27. Detail of the Griffins’ 1911 winning design Source: NCA 2004, p. 15 |
Figure 28. Perspective view from Mount Ainslie of the Griffins’ design, with the future Anzac Parade at the centre
Source: Reid 2002
An historical appreciation of the plans for what became Anzac Parade is provided by Weirick,
‘possibly the most ambitious sequence of spatial and symbolic experiences was set out along 'Prospect Parkway' Griffin's term for that section of the Land Axis now known as Anzac Parade. In Griffin's Canberra, this would have been the physical element which most dramatically linked the city's 'National Capital' functions with the activities of everyday life. Prospect Parkway extended from the National Stadium on the lakeshore, sited directly opposite the government buildings, to the forested slopes of Mount Ainslie. Griffin described the Parkway as a 'formal plaisance' and Marion Mahony's perspective from the summit of Mt Ainslie clearly shows a sweep of space, lined on both sides by informal drifts of trees, which grade into formal avenue plantings. Griffin's plaisance, a grand promenade under a canopy of trees, was a landscape element in the tradition of the Mall in Central Park or the Midway Plaisance on the south side of Chicago, both design [sic] by Frederick Law Olmsted. Griffin's Plaisance, however, was not planned as a meeting place in a park but as a meeting place in the city, a green cross-section cut through a high-density residential district and directly accessible to all citizens in the Capital from the Prospect Parkway station, a stop on the city railway line, which was sited on axis but below grade.
Crowds of people could be expected to spill out of the Prospect Parkway station to attend sporting events in the National Stadium; to visit the opera, theatre or museums, to go shopping. Residents in the nearby courtyard apartments could be expected to use Prospect Parkway as an urban park – a human scaled, modulated space under the canopy of trees, with an exhilarating prospect down the great sweep of its central greensward. Griffin's plaisance was intended to be a natural funnel of activity, a vital place in the life of the city. To walk along it, the central axis of the city, would be to experience transition from the public realm to the private realm…
To turn then from the set-piece, to leave the lake edge or the stadium, and walk along the plaisance would be to experience a series of transitions from the civic, formal and spectacular to the private, informal and relaxed… To draw people to this upper end of the Mall [the plaisance], Griffin planned a Casino, a facility for popular entertainment and relaxation…’ (Weirick 1991, pp. 15-16)
The formal development of the Land Axis on the northern side of the Molonglo was, however, slow to start. Griffin identified it as ‘Prospect Parkway’ on his later plans. In 1920 the construction of a railway line from Kingston to Civic passed across the alignment of Anzac Parade just south of the line of Amaroo Street (where it can still be made out on the northern edge of the current CIT grounds). However, the line was short-lived, the bridge over the Molonglo River being washed away in a flood in 1922 and it was never replaced. The longer-term plans to have the main-line railway from Queanbeyan run through Civic on its way to Yass were abandoned in 1924.
Following the First World War there was considerable support for the creation of a war memorial and museum in Canberra, and in 1923 the Federal Capital Advisory Committee (FCAC) was successful in getting government approval for the design of an Australian War Memorial on the site identified by Griffin for a Casino. The Parliament House Vista heritage management plan claims that this decision ‘represented arguably the most fundamental change to the Griffins’ vision for what has become the Parliament House Vista’ (Marshall and others 2010b, vol. 1, p. 57).
‘In the Griffins’ scheme, the southern end of the axis was the site where the most important and serious business of the nation was conducted. By contrast, the northern end of the axis was a place of relaxation and recreation. The siting of the Australian War Memorial at the foot of Mount Ainslie changed the dynamic completely. The northern end of the axis now became home to a matter of the utmost gravity and seriousness, the commemoration of the more than 60,000 Australians who lost their lives in the First World War. At the same time, the placing of the Australian War Memorial at the opposite end of the Land Axis to Parliament House elevated the commemoration of the war dead to a status rivalling that of the business of governing the nation. The Griffins’ conception of the axis, with the levity of the northern end acting as a counterpoise to the seriousness of the other, was thus transformed…
Contrary to Griffin’s view of it as a pleasant parkway in a general recreational and residential area, Anzac Parade has become a place of much greater solemnity, a site for ceremony and in some eyes a sacred precinct. While Walter Burley Griffin intended that the avenue would be lined by memorials, the presence of the War Memorial at the head of the avenue has led to the erection along it of memorials of a specific type – ones that commemorate men and women who served in wars. These memorials, in turn, have reinforced the serious, sacral character of this part of the vista.’ (Marshall and others 2010b, vol. 1, pp. 57-58)
The construction of the Australian War Memorial was, however, delayed by the Great Depression and the commencement of World War 2, with the building not being opened until 1941. The first memorial on what was is now Anzac Park was not erected until 1968.
In the meantime, in the 1920s Prospect Parkway (renamed Anzac Park in 1928) was laid out with formal plantings adjacent to the growing suburb of Reid, the intricate bedding being maintained until 1950 (Marshall and others 2010b, vol. 1, p. 87). The extent to which these plantings by Charles Weston were in response to Griffin’s intentions for the parkway, and in what degree they were responding to later Departmental ideas, is not clear, though the former does seem likely, as the scale of the laid out beds precluded major road construction. Weston was in charge of early government planting programs, and further information about his role is provided in Section 3.3 below.
Figure 29. View from Mount Ainslie towards Provisional Parliament House, c.1925, showing the formal layout of what was by then called Anzac Park Source: National Archives of Australia, A3560, 908 |
Figure 30. Detail of 1933 Plan of Canberra showing extent of development Source: Detail of 1933 Map of Canberra prepared by the Property & Survey Branch of the Department of the Interior, National Library of Australia, 2931052 |
Figure 31. St John’s Church and Anzac Park, about 1939. The formal plantings in Anzac Park and the now-unused railway embankment crossing it are highlighted. Source: St. John's Anglican Church, Reid, and its cemetery, Canberra, A.C.T., c. 1939, National Library of Australia, nla.pic-an23548158 |
Figure 32. Aerial view of Anzac Park and St John’s Church looking towards the Australian War Memorial, about 1940? Source: Copied from an image in the possession of Scott McAlister |
Figure 33. Anzac Park, 1961
Source: ACT Heritage Library
Figure 34. View from the Australian War Memorial of Anzac Park, early 1960s? Source: Richard Clough, From Anzac Parade forecourt before any tree memorial, Canberra, National Library of Australia, nla.pic.an14324452-90 |
Anzac Parade is developed as a memorial space
Anzac Park becomes Anzac Parade
In the 1960s, as the development of Canberra was accelerating, the National Capital Development Commission (NCDC), recognising the significance of the siting of the Australian War Memorial, drew up plans to make Anzac Parade a ‘processional way’ leading up to the Memorial.
Major earthworks were undertaken to level the sweep of the parade and establish two roadways separated by a broad median area, flanked on either side by a newly planted Anzac Park, and beyond these roads for local traffic.
Figure 35. Perspective sketch of Anzac Parade looking towards the Australian War Memorial, 1963-64 Source: NCDC Annual Report 1963-64 | |
|
|
Figure 36. Perspective sketch of Anzac Parade looking towards Old Parliament House, 1963-64 Source: NCDC Annual Report 1963-64, p. 6 |
Anzac Parade’s conversion into a processional way was completed and officially opened on 25 April 1965, the 50th anniversary of the World War 1 landings at Gallipoli. The Parade was then increasingly used as the processional avenue leading to ceremonies at the Australian War Memorial, such as on Anzac Day.
Figure 37. Aerial view of Anzac Parade looking North, under construction, c1965 Source: Richard Clough, Aerial view - earthworks on Anzac Parade completed, Canberra, National Library of Australia, nla.pic-an14324452-98 |
Figure 38. Anzac Parade at its opening, 1965 Source: NCDC Annual Report 1964-65, p. 2 |
Weston’s tree planting of the former Prospect Parkway was removed at this time and replaced with Eucalyptus bicostata on both sides of the Land Axis in the new Anzac Park. The central area was planted with Hebe species in regularly spaced raised planters formally located in a central band of red crushed brick gravel. The choice of plants represented the Anzac spirit, symbolically linking New Zealand and Australia. (Marshall and others 2010b, vol. 1, pp. 69-72, 87)
While locations for future memorials were incorporated into the design of Anzac Parade, the first memorial appeared almost by accident. During the Suez Crisis of 1956, an Egyptian mob in Port Said had badly damaged a memorial to those members of the Australian Light Horse Brigade, the New Zealand Mounted Rifles, the Imperial Camel Corps and the Australian Flying Corps who had lost their lives in the Middle East in World War 1. Pressure from veterans groups to repair and bring the memorial back to Australia were successful, but the favoured location, Canberra, was replaced by Albany, the departure point for the ANZAC troops. Continued lobbying led to a decision to cast a copy from the original moulds which were held in Italy, for erection in Canberra, and this was unveiled on Anzac Parade by Prime Minister Gorton on 19 August 1968. (National Heritage List citation; Marshall and others 2010b, vol. 1, pp. 72-73)
Figure 39. View of Anzac Parade, 1966-67 Source: NCDC Annual Report 1966-67, cover
|
The Rond Point pool and water jets, outside the National Heritage place, were built in 1963 at the intersection of Anzac Parade and Parkes Way. The Anzac Parade vista was accentuated in this period by the construction of the two monumental portal buildings on Constitution Avenue, aligned to the edge of the building development in Reid and Campbell. Anzac Park East was completed in 1965 and Anzac Park West in 1967-68. The Portal Buildings, first proposed by the Griffins, and in essence endorsed by the later important planning consultant for Canberra, Sir William Holford, framed the processional way to the Australian War Memorial, and gave a much greater measure of definition to the Land Axis. (Marshall and others 2010b, vol. 1, pp. 73, 87)
Figure 40. Anzac Parade looking South in 1968. The Desert Mounted Corps Memorial circled, the first memorial on Anzac Parade. The Portal Buildings define the lake end of the northern Land Axis along Anzac Parade. Source: National Archives of Australia, A7973, INT1015/22 |
Figure 41. Australian War Memorial and Anzac Parade looking North in 1968 Source: National Archives of Australia, A7973, INT1015/42 |
Figure 42. Women Against Rape in War carry a banner along Anzac Parade, 1982 Source: ACT Heritage Library, Canberra Times Collection, photographer Martin Jones, 008857
|
Redesigning Anzac Parade
A redesign of Anzac Parade was proposed in the early 1990s, through the Anzac Parade Urban Design Competition. The competition and the work of the four finalists was reported in Landscape Australia (Olsson 1992), offering an interesting perspective on the appreciation of the aesthetics and symbolism of Anzac Parade as interpreted by these teams of highly experienced Australian architects, landscape architects and other designers.
The brief given included addressing ‘the national significance of the site, given its symbolic importance in relation to the War Memorial and its axiality with Parliament House’ along with other factors such as the ‘continuity of the land axis’ and determining an ‘edge to the Parade within an urban setting that will endure’.
Following the Griffin concept, Anzac Parade was to be ‘the urban artefact which most clearly linked the National Capital functions to everyday life’ (Weirick quoted in Olsson 1992, p. 50). But in reality, Anzac Parade was becoming car dominated, severed from the lake by a parkway, the eucalypts were suffering dieback, and the design was not well terminated at the lake shore (Olsson 1992, p. 50). Weirick also noted,
‘certainly one measure of our departure from his [Griffin’s] intentions is the total lack of people in Anzac Parade, the site of Griffin’s plaisance. For some reason, it was deemed appropriate to repeat the desert-like emptiness of Anzac Parade in the desert-like forecourt of the New Parliament House. Emptiness, it seems, is central to the experience of Canberra.’ (Weirick 1991, p. 16)
The team lead by Daryl Jackson, competition winners, proposed the most radical treatment, adding a new structure into the landscape – a series of stepped parterres, and sought to shift the expressed symbolism from ‘remembrance and the War Memorial towards democratic constituency’ with each parterre representing an Australian state. The trees were also proposed to change from eucalypt to liquidambar, a deciduous tree. In this concept, the parade ground was removed, but the whole space was for use by pedestrians, freed of cars.
The other three finalists adopted a less interventionist approach. One proposed a Peace Square and another a ‘Place of Great Australians’. All more actively engaged the lake foreshore and sought to reduce in various ways the impact of traffic. The three other responses all retained the ‘parade ground’, reinforced the plantings and increased the pedestrian qualities of the space, seeing no need to change too dramatically ‘an already memorable national artefact’.
Considering these responses, offered by significant Australian designers, the importance of Anzac Parade as a place that needs to be engaged with directly – to walk, look and reflect – comes through strongly. It is a ‘view’ – the Land Axis – but it is also a place to be experienced (Olsson 1992, pp. 50-52).
Figure 43. Daryl Jackson Architects’ winning design for Anzac Parade, c1991 Source: Landscape Australia, 1-1992, cover image |
Recent history
The original 1960s design for Anzac Parade included landscape rooms for eight memorials. At some time, an additional eight landscape rooms were provided.
In 2001, an upgrade of Anzac Parade saw new, specially designed street lighting officially commissioned, replacing the original 1965 lighting. The lighting was designed by architects Richard Johnson and Alec Tzannes, and the electrical and lighting consultant was Iain Clarke of Barry Webb & Associates.
On Anzac Day 2006 it was announced that the Australian War Memorial and Anzac parade would be added to the National Heritage List.
In 2008-2011 a major upgrade took place, with the roadways reconstructed along the full length of the Parade, and changes to the intersections at Limestone Avenue, Constitution Avenue and Parkes Way.
Around 2009 a process was begun to review the performance of the Hebe plants in the median planter beds. This ultimately led to a decision to replace the plants, and to use a different cultivar of Hebe. The replacement work was undertaken in 2011-12.
Figure 44. Replacement plantings of the Hebe species, 2012 Source: Duncan Marshall |
Other recent changes within the National Heritage place have included:
Other recent changes outside the National Heritage place have included:
Memorials
Thirteen memorials flank Anzac Parade, being set back into Anzac Park that runs each side of the Parade. There remain two locations for future memorials, towards the northeast end of the Parade. The memorials are as follows (see National Heritage List citation for the Australian War Memorial and the Memorial Parade; Marshall and others 2010b).
Figure 45. Anzac Parade looking south Source: Duncan Marshall |
Australian Hellenic Memorial (erected 1988)
The memorial commemorates those who died in campaigns in Greece and Crete (1941). It was designed by architects Ancher, Mortlock and Woolley Pty Ltd, and the mosaic pavement was designed by artist Mary Hall.
Figure 4246 Australian Hellenic Memorial Source: Duncan Marshall |
Australian Army Memorial (erected 1989)
The memorial recognises the contribution of Australian soldiers for their service and excellence in all theatres of war. It was designed by sculptors Charles Smith and Joan Walsh Smith in collaboration with architects Ken Maher & Partners.
The memorial reminds the visitor of the importance of the Australian ‘digger’ and his role in the formation of the national character and sentiment.
Figure 47. Australian Army Memorial Source: Duncan Marshall |
Australian National Korean War Memorial (erected 2000)
The memorial commemorates those who served in the Korean War. It was designed by the ANKWM Design Group (led by sculptor Les Kossatz, and including Augustine Dall'Ava, David Bullpitt, Sand Helsel), in conjunction with the architectural firm Daryl Jackson Pty Ltd, and in accordance with the requirements of the Australia National Korean Memorial Committee.
Figure 48. Australian National Korean Memorial Source: Duncan Marshall |
Figure 49. Australian National Korean Memorial Source: Duncan Marshall |
Australian Vietnam Forces National Memorial (erected 1992)
The memorial commemorates the 50,000 Australians who fought in the Vietnam War. It was designed by sculptor Ken Unsworth AM and architectural firm Tonkin Zulaikha Harford, and was selected as part of a design competition in 1990. The memorial received several awards in 1993, including merit awards from the Master Builders Association, Concrete Institute of Australia and the RAIA.
Figure 50. Australian Vietnam Forces National Memorial Source: Duncan Marshall |
Figure 51. Australian Vietnam Forces National Memorial Source: Duncan Marshall |
Desert Mounted Corps Memorial (also known as the ‘Light Horse Memorial’, erected 1968)
The sculpture by Raymond Ewers OAM is a replica of the original memorial designed by sculptor C Web Gilbert, and brought to fruition by Paul Montford and later Sir Bertram Mackennal, which stood at Port Said in Egypt. The original was a memorial to those members of the Australian Light Horse Brigade, the New Zealand Mounted Rifles, the Imperial Camel Corps and the Australian Flying Corps who had lost their lives in the Middle East in World War 1.
The Port Said sculpture was attacked and smashed beyond repair during the Suez conflict in 1956. Following lobbying by veterans, the remnants of the damaged memorial were later shipped to Australia where Raymond Ewers reconstructed the statuary. The Ewers reconstruction was cast in bronze in Italy, and unveiled in Albany, WA, in 1964. Albany was the place where ANZAC forces sailed from Australia. Veterans associations, however, continued to press for the memorial to be placed in Canberra and, in March 1966, the government agreed to install a replica of the original memorial in Anzac Parade. The cast bronze figurative sculpture was the second casting from the original moulds still held in Italy, and unveiled on Anzac Parade by Prime Minister John Gorton on 19 August 1968. (National Heritage List citation; Marshall and others 2010, pp. 72-73; Australian War Memorial, letter of 29 August 2012)
Figure 52. Desert Mounted Corps Memorial Source: Duncan Marshall |
Boer War Memorial (erected 2017)
The memorial commemorates the military history of Australia during the Second Boer War (1899-1902). The Australian Colonial Forces joined British forces in South Africa, united against the Dutch Afrikaner settlers known as Boers. The area had been highly contested since the Napoleonic wars and when gold was discovered in the 1880s, hostilities broke out again. By the end of the conflict, 23,000 Australians had served in the war.
The memorial was designed jointly by Pod Landscape Architecture and Jane Cavanough, and the sculptor was Louis Laumen. The bronzes were cast by the Fundere Foundry in Melbourne.
Figure 53. Boer War Memorial Source: Duncan Marshall |
New Zealand Memorial (erected 2001)
The memorial commemorates the long cooperation between Australian and New Zealand, and the ANZAC experience. A gift from the New Zealand Government, it was designed by Kingsley Baird and Studio of Pacific Architecture from New Zealand, together with paving designs by Toi Te Rito Maihi and Allen Wihongi (east side), and Daisy Nadjungdanga in association with Urban Art Projects (west side).
Figure 54. New Zealand Memorial Source: Duncan Marshall |
Australian Peacekeeping Memorial (erected 2017)
This memorial commemorates the significant contribution made by military, police and civilian Australian peacekeepers to United Nations and other international peacekeeping missions since 1947.
The design was the result of a competition won by Super Colossal, an architectural practice based in Sydney.
Figure 55. Australian Peacekeeping Memorial Source: Duncan Marshall |
Figure 56. Rats of Tobruk Memorial Source: Duncan Marshall |
Rats of Tobruk Memorial (erected 1983)
The memorial commemorates Australians who fought against the Germans and their allies in the siege of Tobruk in Libya in 1941. Designed by architectural firm Denton Corker Marshall Pty Ltd, and with a bronze Eternal Flame created by sculptor Marc Clark. The memorial is a replica of one that was built by Australian soldiers during the siege in the Tobruk War Cemetery which has since been destroyed. An inscription stone, all that survives of the original memorial, is incorporated into the new memorial.
Royal Australian Air Force Memorial (erected 1973, altered in 2002)
The memorial commemorates the Royal Australian Air Force’s 50th anniversary and honours those who served throughout its history. The original stainless steel sculpture was designed by sculptor Inge King AM. The three black granite walls behind the sculpture were designed by Robert Boynes, and were unveiled in 2002.
Figure 57. Royal Australian Air Force Memorial Source: Duncan Marshall |
Figure 58. Royal Australian Air Force Memorial Source: Duncan Marshall |
Australian Service Nurses National Memorial (erected 1999)
The memorial honours past and present service nurses, who have cared for the sick and wounded since the South African War. It was designed by artist Robin Moorhouse, in conjunction with MonuMental Design and Australian nursing associations.
Figure 59. Australian Service Nurses National Memorial Source: Duncan Marshall |
Figure 60. Australian Service Nurses National Memorial Source: Duncan Marshall |
Royal Australian Navy Memorial (also known as ‘Sailors and Ships – Interaction and Interdependence’, erected 1986)
The memorial commemorates those serving with the Royal Australian Navy throughout its history including during the First World War, Second World War, Malayan Emergency and the Korean, Vietnam and Gulf wars.
The memorial was designed by sculptor Ante Dabro in collaboration with architects Lester Firth and Associates and Robert Woodward.
Figure 61. Royal Australian Navy Memorial Source: Duncan Marshall |
Kemal Ataturk Memorial (erected 1985)
The memorial honours Kemal Ataturk and the heroism and self-sacrifice of ANZAC and Turkish troops during the Gallipoli campaign. Ataturk, then known as Mustafa Kemal, was a Lieutenant Colonel commanding the Turkish 19th Infantry Division at Ari Burnu during the Gallipoli landings in 1915. He was later the founder and first president of the Republic of Turkey, and was given the honorific ‘Ataturk’ (‘Father of the Turks’) by the Turkish parliament.
The memorial was designed by architectural firm PDCM Pty Ltd, and the bronze portrait of Ataturk was designed by Turkish sculptor Hüseyin Gezer – a gift of the Turkish government.
It is the only memorial to an enemy commander on Anzac Parade.
The memorial was refurbished in 2007, with the five-pointed star being incorporated into the pavement.
Figure 62. Kemal Ataturk Memorial Source: Duncan Marshall |
Figure 63. Kemal Ataturk Memorial Source: Duncan Marshall |
3.3 Landscape history
Introduction
This section identifies a chronological series of significant phases or periods in the evolution of the cultural landscape of the study area, and provides a brief description of the landscape character of each period. The periods nominated here simplify the underlying complexity of interaction between social and political struggles to establish the “bush” capital of Australia with its many, often competing, visions.
These periods represent the particular influence of individuals regarding the vision, planning, design, implementation and maintenance of the landscape.
The periods considered are:
Aboriginal occupation
The Canberra region was occupied by three Aboriginal groups – the Ngarigo, the Walgalu and the Ngunnawal. The Ngunnawal people are thought to have occupied Black Mountain, the adjoining Molonglo River flats and the Limestone Plains. (Freeman 1996, p. 2)
The landscape character in this period may have changed through different climate changes over millennia with cycles of dry and wet periods. The predominance of sclerophyllous vegetation such as eucalyptus open woodland and grassland at the time of European colonisation may have been associated with a dry cycle as well as the impact of the use of fire by Aboriginal people. Vast stretches of open grassland existed on the plains with limited areas of treed vegetation above the winter frost line.
Aboriginal associations with the land are ongoing.
Colonial occupation 1825–1900
This period represents the beginning of European occupation of the study area in the 1820s with the use of sheep grazing on the natural grassland of the Limestone Plains. The rural landscape character of this period gives emphasis to the concept of the later selection of Canberra (formerly Canberry Station and others) in the Federation period as the ‘Bush Capital’ reflecting national sentiment with rural Australia, and colonial conquest of the land.
In terms of a scientific description, the Limestone Plains are associated with a sedimentary geology of sand, gravel and clay overlying the Canberra Group of bedrock (shale, siltstone, limestone, sandstone, tuff and rhyolite).
The larger early land holdings were those occupied by Moore and Campbell, with most of the study area falling within Campbell’s ‘Pialigo’ land straddling both sides of the Molonglo River.
The land was largely cleared of indigenous treed vegetation and revealed a landform of gentle undulations with subtle drainage lines falling towards the Molonglo River.
The pastoral nature of the landscape of the area during the nineteenth century built upon the open woodland character, and further clearing to establish grazing. In contrast to the open character of the valley floor and indigenous tree cover on the hills was the use of exotic vegetation to mark permanent colonial settlements. This was an attempt to create comfortable microclimates for shade and shelter from westerly winds, as well as reference to the familiar forms associated with northern hemisphere environments.
The rural landscape in this period consisted of a patchwork of introduced and indigenous grasses, fenced paddocks in different states of cultivation according to the seasons (eg. wheat fields), dirt roads, homestead complexes with both indigenous trees and largely exotic plantations, and individual buildings such as shepherds’ huts and the conspicuous St John’s Church. The Church grounds and surrounds contained contrasting vegetation and particularly conifers.
In the rural Limestone Plains of 1900, before the development of the national capital, a number of exotic plant species were established. The tree species included English Elm, False acacia, Tree of Heaven, Lombardy Poplar, Silver Poplar, Weeping Willow, Basket Willow, Aleppo Pine, Stone Pine, Monterey Pine and Hawthorn.
The willows were conspicuously located along watercourses and the Molonglo River banks. Pines were used as windbreaks and/or specimen plantings, as were the deciduous trees. The poplars were used as markers throughout the local and surrounding rural landscapes to identify places of human habitation and activity.
These species were found to be successful due to their adaption to the climate, and particularly the limiting factor of frost and cold temperatures.
The tree planting that was carried out in the early years of the national capital built upon the existing successful species tried by the early settlers, as well as experiments with a range of exotic and indigenous species.
Federal Capital of Australia 1901–1921
This period includes the Federation of the former six colonies of Australia into one nation. It also includes the search, selection, planning, design and initial development of the national capital on the Limestone Plains, within a designated area of New South Wales – the Federal Capital Territory (later the Australian Capital Territory).
The Yass/Canberra district was considered as a candidate for the capital following the 1901 meeting of the Congress of Engineers, Architects, Surveyors and others Interested in the Building of the Federal Capital of Australia. In the following years, after a long and difficult process which included consideration of many other possible sites, Canberra was eventually selected, and it was surveyed in 1909.
The image of the future capital addressing a large water body was promoted by architect Robert Coulter’s 1901 visionary painting which depicted a proposed capital beside Lake George.
Another contributor to the Congress was Charles Bogue-Luffman, the first Director of Burnley College of Horticulture, Melbourne. He put forward a paper describing the future capital city as one which could be integral with its ecological setting and that ‘the adaptation of streets and architecture to the natural contour and position of the landscape’ should be promoted such that the landscape be Australian in character, as opposed to a romantic/nostalgic interpretation of the northern hemisphere.
The site selected by the Federal Parliament was used in an international competition for the design of the capital in the same year (1911) that the area was named Canberra, after Canberry.
Walter Burley Griffin and Marion Mahony Griffin won the design competition in 1912 and Walter accepted the position of Federal Capital Director of Design and Construction during his initial visit to Australia in 1913. In May 1914 he returned to Australia with his wife Marion, after settling his American affairs, and set up offices in both Melbourne and Sydney.
With the establishment of Canberra as the site for the nation’s capital, arboriculture became a means of implementing planning and design concepts in a tangible way.
Charles Weston was appointed as Officer-in-Charge, Afforestation Branch, Federal Capital Territory and began service on 1 May 1913. His previous appointments were as Gardener-in-Charge at Admiralty House, Sydney, Head Gardener at the Federal Government House, Sydney, and the Superintendent of the Campbelltown State Nursery under the control of the Sydney Botanic Gardens. Whilst at the Federal Government House, he made several visits to the Federal Capital site in 1911 and 1912 to assist in the establishment of a nursery at Acton.
Unlike the Griffins, Weston lived in Canberra, adjacent to the Acton Nursery, for most of his appointment, and he promoted the possibility of using a mixture of Australian trees and exotic trees that were frost tolerant. His preference was for more coniferous species and particularly Cedrus species to, ‘form the chief arboreal feature of Canberra’. His former employer, the Director of the Sydney Botanic Gardens, Joseph Henry Maiden, expressed the desire for the predominance of Australian trees, particularly eucalypts and the use of native grasses for the Federal Capital. But Maiden could also see the attraction of using the Canberra climate to advantage by utilising autumn foliage plants as well as those plants which display distinctively coloured fruit.
The Griffins were also favouring the use of Australian plants, particularly eucalypts, and a mix of exotic trees and shrubs. Maiden disapproved of the Griffins selected plant species except for a small number, and advised them to consult with Weston as, ‘the land in question is largely treeless with unknown sylvicultural conditions’.
The area now known as Anzac Parade was designated, in the Griffins’ competition entry, as the northern component of the Land Axis and as a parkway linking the foreshores of the intended central lake with an up-slope site for an intended casino building which would command views towards and over the Parliamentary Triangle on the opposite and southern shore of the central lake. The parkway was a linear stretch of land lying along the axis and was identified as Prospect Parkway.
The Griffins’ vision for the parkway was,
‘a formal plaisance 600 feet wide, all the way to the Casino, a park feature, at the foot of Mt Ainslie.’ (Gray 1999, p. 183)
The perspective drawings prepared by Marion Mahony Griffin suggest a wide grassed area defined by rows of trees either side. No detailed design drawings appear to have been developed by the Griffins for the Parkway but their intention was interpreted by Weston at a later date.
The 1911 competition drawings indicated a railway line set in a cutting crossing the parkway, together with a railway station. The Commonwealth Railways preferred route was through the Canberra Gardens (now the Central Parklands) with a station centred across the Land Axis. By 1916 the railway was relocated further south on the plan and closer to the intended Capital Terrace, with the station located off the axis and to the east.
Walter Burley Griffin’s position was abolished in 1920 and his contract as Director of Design and Construction ended on 31 December. This followed a series of changes to the original competition design, initiated with the Departmental Board’s Plan in 1912, followed by Griffin’s response to both the site and the Board in amended plans of 1913, 1915 and 1918.
Within each of the plans that evolved was the planning concept of a large roundabout located at the intersection of Canberra Avenue (now Limestone Avenue) and the Land Axis component of the parkway, in an attempt to resolve a series of issues – the potential traffic flow, the unresolved topographic form to match the intended geometry, and the impact of the deleted casino building.
The roundabout was identified in the 1915 plan as the ‘Market Park’ and later in 1925 as ‘Prospect Place’.
The 1912 Board’s Plan had an associated perspective from Mount Russell, indicating the retention of the Griffins’ concept of the axial structure and, interestingly, the predominance of the use of fastigiated tree planting, possibly Lombardy Poplars or Roman Cypress planted at regular intervals and reinforcing the geometry of the road layout. Griffin’s amended plans contained no such similar detail of landscape character but concentrated on the planning principles to achieve government acceptance over the influence of the Board. Changes of government and World War 1 hindered physical progress.
Figure 64. Detail of Scrivener Survey showing general location of Anzac Parade, 1909 Source: Reid 2002, p. 8
|
Figure 65. Detail of the Griffins’ 1911 ‘View from the summit of Mount Ainslie along Land Axis’ Source: Reid 2002, pp. 56-7
|
Figure 66. Detail of 1913 Griffin Plan showing the northern part of the Land Axis Source: Reid 2002, p. 110
|
Figure 67. Detail of Departmental Board’s Plan, 1912, showing the northern part of the Land Axis Source: Reid 2002, p. 99
|
Figure 68. Detail of Federal Capital Advisory Committee Plan, 1925, showing the northern Land Axis Source: Reid 2002, p. 148
|
Establishment: Committees & commissions 1921–1956
This period is concerned with the post-Griffin period, the establishment of the Federal Capital Advisory Committee (1921-1925), the Federal Capital Commission (1925-1930) and the National Capital Planning and Development Committee (1938-1957).
With the departure of Walter Burley Griffin, Charles Weston was made Director of City Planting. The focus of planting was the National Triangle with planting of the alignment of Commonwealth Avenue and the projected foreshore planting of the future lake at the centre of the Water Axis. Another focus was an area adjacent to Commonwealth Avenue conceived at this time as Central Park, that was to become Commonwealth Park in 1922.
In the following year further planting was carried out to define Capital Terrace (Constitution Avenue), and Prospect Parkway and Place (Anzac Parade). This was an attempt to mark out the axial elements of Griffin’s concept and relied on closely spaced planting of lines of alternating species of predominantly advanced (11-13 years old) coniferous and oak trees, supplemented with Acacia species and roses.
Weston did not remodel the existing landform but planted rows of Cedrus atlantica and Quercus virens trees, within an established fenced area which ultimately obliterated the Griffins’ prospect concept by enclosing a chain of six separate grassed spaces, as opposed to a continuous central grass sward.
Further planting was carried out in the mid-1920s with some intricately shaped curved beds to areas between the separate grassed areas. The additional horticultural embellishment appears to date from the decision to site a national war museum in place of the casino building.
In 1926 the Imperial War Graves Commission began sending packets of flower seeds from Australian soldiers’ graves overseas. These were propagated by Weston for use near the war museum site, and ultimately within mass planting beds within the Prospect Parkway. (Gray 1999, pp. 183-4)
In November 1926, Weston retired. His planting within the National Triangle was concerned with symmetrical compositions, mostly using coniferous tree species with some contrasting deciduous species and eucalypts, shrubbery, lawns and flower gardens. He employed lines of row plantations often with alternating species, and a pattern of circles for formal statements for flower gardens (usually roses or tulips). The density of planting was related to the sense of achieving an immediate effect, and the perceived need for creating windbreaks in an otherwise open and exposed landscape.
Weston’s successors as Director of Parks and Gardens were Alexander Bruce (1926-1938), John Hobday (1938-1944) and Lindsay Pryor (1944-1958).
Bruce continued to implement Weston’s planting yet added seasonal flowering plants such as Prunus trees and roses, whilst Pryor altered the Weston tradition in promoting the creation of parkland spaces for people, and the integration of eucalypts into the garden that Canberra had become.
By 1933, Prospect Parkway was designated as Anzac Park and seeds from war cemeteries in France and Gallipoli were received with the intention of continuing the planting within Anzac Park. This appeared to continue until after World War 2 when the park layout was reconsidered and the former intricate flower beds were eliminated.
By 1938 the western arm of Canberra Avenue was renamed Gallipoli Avenue.
In November 1941 the Australian War Memorial was completed following a long design process. This was initiated in 1919, followed by an architectural competition in 1927 in which no winner was selected, but two of the entrants, Emil Sodersten and John Crust were encouraged to submit a joint proposal. The landscape setting for the schemes developed by Sodersten and Crust included the integration of the war memorial southern forecourt with what was to become Anzac Park. Sodersten’s 1936 plan indicates the concept of a belt of trees framing the Land Axis, with the roundabout and the forecourt as one defining gesture. This concept appears to have been developed by Richard Clough in the National Capital Development Commission in the 1960s.
Following the resignation of Sodersten in 1938, the landscape design for the war memorial setting was informed by Crust and Tom Parramore, a former student at Burnley School of Horticulture in Melbourne who had recently returned from working in England. Parramore was recommended by Charles Bean, the journalist, war correspondent and historian who played a major role in promoting the development of the Australian War Memorial. Bean’s garden at Lindfield had been designed by Parramore in 1937.
The economic constraints during World War 2 resulted in a composition of terraces and a roadway to the front entrance of the Australian War Memorial, surrounded by lawns.
Figure 69. Detail of 1930 aerial photograph showing northern Land Axis Source: Reid 2002, p. 196
|
Figure 70. Detail of view from Mount Ainslie south along the Land Axis, late 1930s Source: National Archives of Australia, A3560, 908
|
Figure 71. Sodersten’s 1936 plan of the approaches to the Australian War Memorial Source: Australian Garden History Journal, Vol. 18, No. 3, Nov/Dec/Jan 2006/2007, p. 10
|
Figure 72. Detail of Prospect Parkway, 1945 aerial photograph Source: Gray 1999, p. 184, RAAF Airphoto 12 March 1945
|
Figure 73. Detail of a 1956 photograph looking north along the Land Axis, the Molonglo River is in flood Source: National Capital Authority
|
National Capital Development Commission (NCDC) 1957–1989
This period was one of great physical change through the latter half of the twentieth century, it was marked by the existence of the newly formed Commission with broad professional input, and highlighted by the completion of Lake Burley Griffin in 1963 (although the lake was not filled until the following year).
The Commission in 1957 appointed Sir William Holford, a British Planner associated with University College London, to report on the future development of Canberra. This report recommended that Canberra retain its Garden City concept, the city should be a cultural centre as well as a political one, and that implementation of the lake scheme in the Griffins’ plan would unify the city.
The Commission endorsed Holford’s recommendations adding a proposal for landscape development, the provision of parks and other recreational facilities. The Commission also had built up a staff of planners, landscape architects, engineers and architects to liaise with consultants and evolve designs. Richard Clough was appointed as an architect in the Town Planning section in 1958. He had been a landscape student at University College London, he knew of both Holford and Dame Sylvia Crowe, and he worked on a coordinating committee between landscape, architectural and engineering issues.
Early in 1959 the Commission received an endorsement from the Government to proceed with the lakes scheme, without the proposed East Lake. William Holford & Partners were engaged to make recommendations for the landscape treatment of the Central Basin of the lake, and this report was published by the NCDC in February 1961. This report indicated the form of planting, treatment of lake margins, roadways and architectural features. It further proposed that the length of the north bank between the two new bridge promontories (Commonwealth and Kings Avenue Bridges) should be informal except for the central section around the Land Axis.
Recommendations for planting included the use of the existing landscape colour on the higher ground, with eucalypt planting being brought down from the surrounding hills through the built up areas into the parklands, with light green used for the lake margins and darker conifers for boundaries and backgrounds. Autumn colour foliage plants were to be employed for formal and dramatic use. Flowering trees and shrubs should be massed in small enclosures so as to allow the character of the natural landscape to predominate.
In 1963 the Landscape Division of the NCDC was established with Harry Oakman as Director. He was followed in this role by Richard Clough in 1965 and John Gray in 1980.
Clough coordinated the landscape works and plantings for the north bank of the Central Basin, and the re-design of Anzac Park into Anzac Parade.
A main design approach to the Land Axis involved formal planting of various eucalypt species, which continued the concepts put forward generally by Lindsay Pryor.
The Rond Point Pool and water jets were built in 1963 at the intersection of Anzac Parade and Parkes Way. Weston’s tree planting of the former Prospect Parkway and Anzac Park were removed at this time and replaced with Eucalyptus bicostata on both sides of the Land Axis, with the central area planted with Hebe species in regularly spaced raised planters formally located in a central band of red gravel (crushed brick). The choice of plants was symbolic to both New Zealand and Australia, in an attempt to represent the ANZAC spirit in a formal manner.
It is worth noting that there seems to have been no symbolism attached in the design to the choice of red gravel. A suggested association with bloodshed or blood sacrifice appears to have been a later development.
The re-design of Anzac Park into Anzac Parade was carried out by a collaboration of Richard Clough and Gareth Roberts in the NCDC, with input from Richard Gray and Bill Minty (lighting design). Both Gray and Minty were employed by Holford. The NCDC town planner Peter Harrison supported the concept as it interpreted Griffin’s Land Axis.
Both Clough and Roberts designed the forecourt to the Australian War Memorial to integrate with the treatment of Anzac Parade. Their objectives were to unify the space and play down the main traffic intersection which was an inheritance from Walter Griffin. A further complication was that the Remembrance Driveway terminated in a plantation of oak trees to the southeast of the Australian War Memorial. The land sloped from east to west and was naturally out of balance for the intended formality, as the setting for the main façade of the Australian War Memorial.
A major decision in the design was to restore the prospect or line of sight along the Land Axis and to deal with the undulating topography. Generally excavation was carried out on the Campbell side and fill placed on the Reid side. The Australian War Memorial forecourt was also remodelled to create two angled fill landforms and planted with eucalypts. An amphitheatre space was created by cutting the natural landform with symmetrical treatment of concrete seating, and central stairs leading to a central gravel paved gathering space. The sloped landforms were grassed. The proportions of the forecourt generated the overall proportions and layout of Anzac Parade.
The landform was regraded to create a continuous central space and the concept of others locating the roads in the centre was abandoned in favour of locating the roads to each side. The scale and proportion of the elongated central space was addressed by allowing the cross roads to break down the overall length into shorter sections.
The central area of the Parade between the roads was paved with red gravel which was actually crushed brick and tile, sourced by Rod Dalgliesh from the Yarralumla Brickworks. The red gravel was carried over to the central area of the Australian War Memorial forecourt, as well as placed in the centre of the roundabout.
Concrete paths were added to the side of the roads and a concrete edging, either freestanding or as a retaining wall which varied in height, negotiated the varying change of level in each section of the Parade sides. Three rows of Eucalyptus bicostata (Eurrabie or Blue Gum) trees with an underplanting of Poa grasses were placed each side, beyond the line of the concrete retaining wall to further help define the central space whilst raised planter beds were placed either side of the central red gravel paved area. The rectangular planter beds contained three sections of higher growing Hebe species and were surrounded by a lower growing species.
In addition, inter-plantings apparently of a cover species were used, possibly wattles. The intention of inter-row plantings was to provide a quick-growing aesthetic plantation and nurse crop while the long-term species established, and being short-lived, the wattles would all be gone or removed by the time the long-term plantings were well established.
Lindsay Pryor and Ray Margules sourced all the plants for the original planting of Anzac Parade. Margules selected all of the seeds for the eucalypts from one tree which were then propagated in a nursery. Many of the eucalypts were root bound by the time of planting and this may have contributed to subsequent losses within the plantations.
Spaces were made available for future memorials, and the first memorial was the Desert Mounted Corps Memorial.
National Capital Planning Authority (NCPA) 1989–1997
In 1989 the National Capital Development Commission was replaced by the National Capital Planning Authority.
This period represents a change in responsibility for areas within the National Capital, the formation of the Australian Capital Territory Government responsible for Canberra and largely independent from the Commonwealth Government, and the establishment of the National Capital Planning Authority in early 1989 which was focussed on the significant core of the National Capital. This core was the defined Central National Area with its character expressed as a cultural landscape, and there was an objective of enhancing the character of Canberra as the National Capital.
As such, the planning process was a continuation of the NCDC approach. This involved enhancement through the implementation of projects falling within the Parliamentary Zone, as opposed to planning visions attempting to redefine the former Griffins’ Municipal Axis from Mount Vernon (Civic) to Mount Pleasant (Russell), and attempting to establish links from Constitution Avenue to the parkland edge of the lake. New visions for Anzac Parade were also explored.
Figure 74. NCDC Landscaping Plan of 1961 Source: Reid 2002, p. 272 |
Figure 75. NCDC Plan of Anzac Parade, c1960s
Source: Richard Clough, NCDC Plan of Anzac Parade - Rendering, Canberra, National Library of Australia, nla.pic-an14324452-92
Figure 76. NCDC perspective illustrating the design of Lake Burley Griffin and adjacent areas, c1960s
Source: Richard Clough, Perspective from Mt. Ainslie, Canberra, National Library of Australia, nla.pic-an14324452-30
Figure 77. Anzac Parade, 1964 Source: Angry mob mulls options, Wikipedia
|
Figure 78. Anzac Parade, c1965
Source: Richard Clough, Anzac Parade completed as seen from War Memorial, Canberra, National Library of Australia, nla.pic-an14324452-101
Figure 79. Detail view along the Land Axis with completed Anzac Parade treatment Source: Reid 2002, p. 228
|
National Capital Authority (NCA) period 1997–present
This period is represented by a name change with the dropping of ‘Planning’ from the Authority’s title, with a greater focus on the Parliamentary Zone, and with a determination to make it a place for people relative to national identity.
The NCA has initiated a series of studies, conservation management plans and publications, and implemented works including the Anzac Parade upgrade in 2001. The upgrade was largely concerned with the installation of new street lighting to the design of Barry Webb and Alexander Tzannes & Associates, as consultants to the NCA. Also in this period additional buildings to the north of the Australian War Memorial complex were constructed by the Australian War Memorial.
Subsequent to the major landscape change in the 1960s, there have been rejuvenation or refurbishment phases of various scales and areas of the planted landscape, mainly including row inter-planting and trialling an understorey of native grasses within the plantations in 1995.
4. Evidence of Community-Based Values
4.1 Introduction
This section investigates the nature and scope of social and community aesthetic values, considering the National Heritage criteria and the indicators of significance defined for such assessments in the Guidelines for the assessment of places for the National Heritage List (Australian Heritage Council 2009).
It supplements the existing values assessed as part of the National Heritage listing of Anzac Parade, and draws on the assessments undertaken for the Parliament House Vista, a Commonwealth Heritage place (Marshall and others 2010b), the previous Australian War Memorial Heritage Management Plan (Godden Mackay Logan 2011, noting the current plan was not available until recently), Lake Burley Griffin and Adjacent Lands Heritage Management Plan (Godden Mackay Logan 2009), and other materials.
This section defines the associated communities and documents the research undertaken into these values as part of this plan. The evidence is analysed against the two relevant criterion (in Chapter 6) and this contributes to the statement of significance (Chapter 7).
Understanding these community-based values is critical in the assessment of criteria (e) and (g), aesthetic and social significance – and these criteria place a specific emphasis on community associations and values.
It should be noted that this chapter derives from research undertaken for the 2013 version of the heritage management plan.
Indigenous cultural and social values attributed to Anzac Parade have not been researched.
4.2 Review of Existing Data
This section looks at the existing data on social and community aesthetic values from previous studies and other sources. Existing research and assessments have provided a foundation for the present plan, and provided a substantial amount of data on social and community-held aesthetic values.
As well, through the review and analysis of this material, the consultants were able to:
Assessments of the Broader Landscape
Parliament House Vista Area Heritage Management Plan
This plan (Marshall and others 2010b) included an assessment of social and community-based aesthetic values derived from an on-line survey, focus groups, research and interviews. The Parliament House Vista area stretches from State Circle to the Australian War Memorial, including the core of the Land Axis.
The plan offers considerable detail on the perceptions and values associated with the Parliament House Vista, some of which are directly relevant to Anzac Parade.
The on-line survey, primarily completed by Canberra residents, demonstrated the importance of the Vista for a variety of reasons including as ‘a place that connects Australian’s political history from past to present’, as a place that ‘evokes national memories’, as a place where people can participate in ‘important national events’, as a ‘dramatic and powerful landscape’, and as an ‘important symbol of Australian national identity’. The symbolism embodied in this place is strongly recognised and deeply felt, as are its beauty and design qualities (Marshall and others 2010b, vol. 1, pp. 102-103).
In the focus groups it was recognised that the Vista is ‘a significant place in terms of its design, symbolism and its role in Australian national memory and identity-building’, although these values were seen as being primarily appreciated by the Canberra community rather than Australians as a whole (Marshall and others 2010b, vol. 1, p. 105).
An examination of images used to present Canberra to visitors (eg. postcards, tourism guides and materials) noted that views along the Land Axis dominated, looking to Parliament House or the Australian War Memorial, and indicating its high level of recognition as Canberra’s signature or icon.
Delving further into the values expressed, the plan recognises that for the Canberra community the Vista is ‘a special place which they see as at the heart of Australian national identity and what it is to be Australian’, symbolising ‘commemoration, democracy, national memory and history and is an iconic representation of Canberra’. Further it ‘gives them a real sense of their place in Australian history and engenders in them a sense of pride’ (Marshall and others 2010b, vol. 1, p. 112).
As well as the symbolic meanings embodied in the landscape, the Vista is important for its beauty and design qualities,
‘the corridor from Parliament House to Mount Ainslie is a beautiful space’
‘it is a striking design element of the city linking (aesthetically and philosophically) key public buildings and facilities that are central to the identity of modern Australia’ (Marshall and others 2010b, vol. 1, p. 113)
As a designed space, it is valued as part of the Griffins design for Canberra,
‘The vista encompasses the legislative, judicial and social structures that represent our nation. These need a strong landscape to link them and present a good image of the heart of our nation to the nation and the world.’ (Marshall and others 2010b, vol. 1, p. 113)
The scale and formality of the Vista is recognised as contributing to its overall impact,
‘I find the scale very impressive, the corridor from Parliament House to Mount Ainslie is a beautiful space. I admire the orderly (formal) landscaping that slashes through the ‘natural bush’ on the perimeter, the contrast is spectacular.’
‘It’s the central concept of the Griffins’ design. The dimensions of Anzac Parade and the War Memorial can be appreciated from Parliament House’
‘I think the view is breathtaking and I am very touched seeing passed the Old Parliament House all the way to the War Memorial’ (Marshall and others 2010b, vol. 1, pp. 114, 119)
The sightline from Parliament House to the Australian War Memorial was identified as important by 66% of respondents to the on-line survey. This sightline offers a visual unification of the ideal of democracy and the sacrifices made to protect the values of democracy, and the plan concludes that it is the veterans/family of veterans among the Canberra community who are most likely to hold this view. Some examples quoted from the on-line survey include,
‘Visual link from Parliament House to the War Memorial links our democracy with the sacrifices made to achieve and maintain it.’ (Canberra resident and veteran/family of veteran)
‘Visual impact, particularly looking south towards Old Parliament House and north from the lake shore towards the war memorial.’ (Canberra resident and veteran/family of veteran)
‘It is an inspiring view to link the parliament and its democratic heritage with the war memorial and its commemoration of those who have fought and died to preserve it.’ (Canberra resident)
‘The vista encompasses the legislative, judicial and social structures that represent our nation. These need a strong landscape to link them.’ (Canberra resident)
‘At one end is the War Memorial which is where the Australian identity was first forged in popular culture.’ (Canberra resident and veteran/family of veteran)
‘The significance of the vista is also because of the later alterations and additional cultural buildings that now form part of the area, including Old Parliament House, which is a physical legacy of the fledgling Commonwealth Government from the 1920s and a national icon that reveals so much about Australian Political life in the 20th century. The vista visually connects the evolution of Australian Government and the democracy between the old and new parliament building, and celebrates the cultural identity of the nation through the linkages to the National War Memorial and other important buildings.’ (Visitor) (Marshall and others 2010b, vol. 1, pp. 119-120)
Australians’ perceptions of their National Capital
A national survey undertaken in 2006 sought to understand Australians’ perceptions and attitudes to Canberra as the national capital. The sample covered 1,002 Australians, and nearly 76% of the sample had visited Canberra.
The most highly ranked symbols of Canberra were Parliament House and the Australian War Memorial. The national values represented by Canberra were, in the eyes of respondents, that it reflects Australia’s history, Australian democracy and national values, with a high percentage supporting the idea that the national capital should be something Australians are proud of (91.6%) and that it should symbolise Australians’ ideals and aspirations (83.7%). The national values identified were ‘in particular Australia’s defence force history, democracy and Australian history’ (Marillanca 2005).
Lake Burley Griffin and Adjacent Lands Heritage Management Plan
This plan by Godden Mackay Logan (2009) for the NCA included an assessment of social and community-held aesthetic values, based on focus groups, an on-line survey, interviews and research.
The statement of significance for Lake Burley Griffin notes that,
‘Lake Burley Griffin is an essential part of what defines Canberra. It is an essential component of the Griffin plan for a lake to link and unify the axes and vistas of the plan to the underlying landform of the place. The lake is a unique and creative aspect of Australia’s most successful urban plan, which is highly valued by communities for its aesthetic qualities... The lake is valued highly by communities for its landmark value, as a symbol of Canberra and as an iconic cultural landscape, which for many is a symbol of local identity.’ (GML 2009b, p. 2)
The strongest recognised values in this plan where there is a link to the potential values of Anzac Parade are:
The lake itself is an important viewing point within the city,
‘It is amazing that you can sit on the water in the Central Basin and have a view from the War Memorial through to Parliament House. It is very special. The whole foreshore is superb particularly as it is not cluttered with buildings and you get such a feeling of space.’ (Questionnaire ID 2714, GML 2009b, p. 132)
The formality and symmetry of the Central Basin and Land/Water Axes were strongly recognised aesthetic attributes by Canberrans, with the lake and its enclosing parklands bringing a sense of visual unity (GML 2009b, p. 137).
The plan concludes that Lake Burley Griffin is a valued aesthetic resource to the communities outside of Canberra, offering a valued setting to national institutions and reflecting the visual qualities of surrounding landscapes in its waters (GML 2009b, p. 181). It plays an important role in representing the image of Canberra to the nation – and potentially internationally. Its symbolic and landmark value as part of the national capital’s landscape is well recognised and widely valued. For Australians, especially those who have visited Canberra, Lake Burley Griffin is a well-recognised symbol of Canberra, forming the centre point of the national capital designed landscape (GML 2009b, pp. 184-5).
For Canberra residents, ‘the integrity of the Griffin land/water axis and associated lands (Mount Ainslie, Black Mountain, Parliament House Vista etc)’ is vitally important and strongly recognised (GML 2009b, p. 182).
Perceptions research on Lake Burley Griffin
The ACT National Trust (Pipitone 2009) undertook a study of the social value of Lake Burley Griffin, using a detailed on-line survey. The study was designed to understand how the Canberra community use and value Lake Burley Griffin. A detailed analysis of the results enabled conclusions to be drawn about the importance of different parts of the lake, including views and vistas.
The survey was open to the Canberra community and there was no targeted sampling involved – 758 people responded to the survey. The survey sample was slightly older than the Canberra population, with people under 34 significantly under-represented and those over 55 significantly over-represented. This may reflect the age of the membership base of the initiating organisation. Pipitone (2009, p. 6) concluded that the sample size is sufficient to interpret the results for all age groups except for 12-24 and 75+.
Figure 80. View to the Australian War Memorial Source: Duncan Marshall |
The view from Parkes Way to the Australian War Memorial and along Anzac Parade was concluded to be the second most important view to the people of Canberra, out of 60 views tested in the survey. The views assessed were from the Lake, and therefore a view down the length of the Land Axis from either end was not included.
Views were the main reason for visiting places around Lake Burley Griffin and the main characteristic of places which people liked (Pipitone 2009, p. 52).
The two most highly regarded views and six other views in the top 15 views were of national icons or were heavily influenced by national icons. From this Pipitone concluded that ‘Canberra people are very aware of the national icons that surround their everyday lives’ (Pipitone 2009, pp. 52 & 78).
Assessment of the Australian War Memorial and Anzac Parade
Commonwealth Heritage Listing
The Commonwealth Heritage listing for the Australian War Memorial describes it in the statement of significance as,
‘Australia’s National Shrine to those Australians who lost their lives and suffered as a result of war [and]… As such it is important to the Australian community as a whole and has special associations with veterans and their families and descendants of those who fought in war.’
Aesthetically, the values of the Memorial relate to its ‘landmark qualities’. Being on the Land Axis it makes a ‘major contribution to the principal views from both Parliament Houses’ (Australian Heritage Database, ‘Australian War Memorial’ ID 105469, http://www.environment.gov.au/cgi-bin/ahdb/search.pl, accessed 14 Mar 2011).
The Parliament House Vista is also on the Commonwealth Heritage List (AHD, ‘Parliament House Vista’ ID 105466, http://www.environment.gov.au/cgi-bin/ahdb/search.pl, accessed 17 Nov 2011), and the listing recognises the values of Anzac Parade as,
‘Memorial features include sculptures, plaques, commemorative trees, water features and gardens. The collection of sculptures, associated art and design which comprise the Anzac Parade Memorials, give expression to key aspects of the history of Australia's armed forces and Australia's war involvement, and possess high social value’ (Criterion G.1, Australian Historic Themes 8.8 Remembering the fallen, 8.9 Commemorating significant events and people).
The landscape spaces are important for social activities of visitors and Canberra residents and these include Canberra festivals, water events, national events and parades such as Anzac Day Parade and the Dawn Service, and other commemorative services’ (Criterion G.1)
National Heritage Listing
The National Heritage Listing is for the Australian War Memorial and the ‘Memorial Parade’ (AHD, ID 105889, http://www.environment.gov.au/cgi-bin/ahdb/search.pl, accessed 14/9/2011). The statement of significance includes additional expressions of the values of the place, some related specifically to Anzac Parade as a place, and as a venue for significant events.
The statement of significance contains the following expressions of social significance (criterion g),
‘The Australian War Memorial (AWM) is Australia's national shrine to those Australians who lost their lives and suffered as a result of war. As such it is important to the Australian community as a whole and has special associations with veterans and their families including the Returned & Services League of Australia. These special associations are reinforced on ANZAC Day and at ceremonies specific to particular memorials on Anzac Parade.
The AWM and Anzac Parade have special associations with Australia’s military forces and with veterans as represented by the Returned & Services League of Australia and community groups. Anzac Parade was opened on ANZAC Day 1965, the fiftieth anniversary of the landing of the ANZAC's at Gallipoli. It is the setting for a series of memorials commemorating Australian service and sacrifice in war and is the major national venue for the ANZAC Day march and other ceremonies to commemorate those who served Australia in times of conflict.
Anzac Parade, as part of the Parliamentary Vista and as an extension of the AWM, has a deep symbolism for many Australians, and has become part of one of the major cultural landscapes of Australia. The notion of a ceremonial space of this grandeur is not found elsewhere in Australia and Anzac Parade is nationally important for its public and commemorative functions.’ (Emphasis added)
The ‘official values’ under criterion (g) are given in the Australian Heritage Database citation as,
‘The AWM is the national war museum and national shrine, and together with Anzac Park, has special associations for the Australian community, particularly veterans and their families. These special associations are reinforced on ANZAC Day and at ceremonies specific to particular memorials on Anzac Parade. The AWM and the Anzac Parade memorials are the nation’s major focal point for commemoration including the ANZAC Day march and other ceremonies and events. These values are expressed through: the AWM building (including the Hall of Memory); the collection; the surrounding landscape (including the Sculpture Garden); and Anzac Parade including the memorials.’ (Emphasis added)
Its community-held aesthetic values are reflected in the ‘official values’ under criterion (e),
‘The AWM in its setting is of outstanding importance for its aesthetic characteristics, valued as a place of great beauty by the Australian community and veteran groups (as represented by the Returned & Services League of Australia). The place has evoked strong emotional and artistic responses from Australian and overseas visitors. The main building and the surrounding landscape, the Hall of Memory, the Roll of Honour, ANZAC Hall and the collections act as reminders of important events and people in Australia's history and trigger disturbing and poignant responses from the vast majority of visitors.’
‘The AWM together with Anzac Parade form an important national landmark that is highly valued by the Australian community. As part of the Parliamentary Vista, the AWM makes a major contribution to the principal views from both Parliament Houses and Mount Ainslie. Views from Anzac Parade to the Hall of Memory, and from the Hall of Memory along the land axis are outstanding.’ (Emphasis added)
ACT Interim Heritage Places Register
A citation for Anzac Parade, Park and Memorials, recognises that the place expresses two key themes – the Land Axis and the Australian Armed Service Tradition. These themes are of interest in defining the associated communities in the present project (ACT Heritage 1998).
The extent of Anzac Parade is defined as from Limestone Avenue/Fairbairn Avenue to the Rond Point wall, whereas the extent being considered in the present assessment is to Constitution Avenue only.
In the description, it is noted that Anzac Parade is ‘associated with the Australian Armed Service Tradition’, and is ‘associated with the Anzac Day march and memorial service and is the setting for the larger individual services held periodically at individual memorials’ (ACT Heritage 1998, p. 3).
The statement of significance notes, amongst other things,
‘The vista down the Parade is among the most recognised images of Canberra...’
‘These elements together with the collection of memorials, sculpture associated art and design give expression to key aspects of the history, tradition and ceremony of Australia’s armed forces and possess high social value.’
In relation to the Land Axis theme, the analysis notes that,
‘The view from the War Memorial is widely recognised as one of the classic views of Canberra... with the War Memorial in the foreground, (the view) is dominated by Anzac Parade and channelled through the portal buildings of the Anzac Park offices to terminate at Parliament House.’ (ACT Heritage 1998, p. 3)
‘Its vista, linking the Memorial with Parliament House, adds aesthetic and emotional value to the places which has become one of the major cultural landscapes of Australia.’ (ACT Heritage 1998, p. 5)
In relation to the Australian Armed Service Tradition theme, the analysis notes that the,
‘Entire length of the precinct is associated with Australian Armed Services tradition... the memorials all pertain to elements of the Australian Armed Services... Anzac Parade is associated with the Anzac Day march and memorial service and is the setting for the larger individual services held periodically at individual memorials.’ (ACT Heritage 1998, p. 3)
The formal ceremonial route of Anzac Parade creates the visual Land Axis link between the Australian War Memorial and Parliament House – described as ‘a space unlike any other in Australia’. Its national symbolic importance is indicated by ‘the opening of Anzac Parade by Her Majesty Queen Elizabeth on Anzac Day 1965’ and by the use of Anzac Parade as ‘the major national venue for the Anzac Day March and other ceremonies to commemorate those who served Australia in times of conflict, and it has a deep symbolism for many Australians’. ‘The notion of a ceremonial space of this grandeur is not found elsewhere in Australia.’ (ACT Heritage 1998, p. 5)
The statement of significance recognises Anzac Parade as of aesthetic significance to all Australians,
‘The Parade is valued by all Australians for its contribution to the monumental vista of the National Triangle and its part in a significant cultural landscape of Australia. Its contribution to the design of the nation's capital is also significant.’
Its social significance is considered in two parts. Its significance to the majority of Australians,
‘Anzac Parade holds a spiritual significance for the majority of Australians, especially those who have been affected by war or conflict, including the Returned and Services League.’
And further it recognises its social significance for those with armed services connections as,
‘The memorials and landscaping have special sense of meaning for those involved in particular campaigns or those belonging to a particular armed service’ (ACT Heritage 1998, p. 11)
Figure 81. World War 2 Navy Veterans march with their grandchildren past the Stone of Remembrance, Anzac Day, 1992 Source: Amanda Evans |
4.3 Engagement with Associated Communities
Defining associated communities
Central to assessing social and community-held aesthetic values is defining the communities who hold those values. The approach adopted was based on analysis of previous studies and other data, and the expectation that an associated community would have direct experience of the place. Given the nature of this place, this could occur through their experience of Anzac Parade as:
Others may feel a strong connection with this place because of a personal connection without having any experience of the place. This could include those with:
Last but not least, this place is part of a cultural landscape with national symbolic meanings, suggesting that all Australians may feel a connection, no matter whether they have visited or witnessed a public occasion here.
Recognising that each associated community may value this place for different reasons and may attribute values to different aspects of the place, care is needed in defining associated communities.
Three potentially associated communities were broadly defined as:
Perspectives from representatives of two other nations, New Zealand and Greece, were also gained through interviews.
Based on this set of associated communities and considering the previous research and assessments reported above, possible methods for researching the values of each community were defined and assessed against the project scope and resources.
Methods and Results
The table below summarises the research methods that were used with each defined community. The following section then details the research undertaken and the conclusions reached.
Table 1. Research Methods used for each Associated Community
| ||||
Associated ‘community’ | Interviews &/or survey | Focus group | Art, literature, tourism sources | Research |
Australians
|
|
| | |
Canberra community
| | | () | |
Armed services community
| | |
| |
Australians
The significance of Anzac Parade for Australians was derived from:
Canberra community
The significance of Anzac Parade for the Canberra community was derived from:
The Canberra community has strong connections to the armed services because of its role as the national capital, as home to the highest echelons and headquarters of the Defence forces, and as the location of the Royal Military College, Duntroon, and the Australian Defence Force Academy, national military training colleges which opened in 1911 and 1986 respectively.[1]
Given the debate at the time of the research over new memorials in Canberra, the website Lake War Memorials Forum (now archived at https://webarchive.nla.gov.au/tep/157452) was reviewed to discern any expressed sentiments about memorials and Anzac Parade, but not the debate itself. Also submissions to the Parliamentary inquiry into the Canberra National Memorials Committee (https://www.aph.gov.au/Parliamentary_Business/Committees/House_of_Representatives_Committees?url=ncet/memorials/index.htm) were examined seeking any relevant material.
Armed services community
The significance of Anzac Parade for the Armed services community was derived from:
To some extent the views expressed by those with armed service associations reflects the views of part of the Australian community as well as the Canberra community.
At the time of this research, around 2011-12, the National Capital Authority contacted the three Defence services seeking a contact person to enable each organisation to contribute, however no response was received.
Using contact lists provided by the NCA, and derived from recent past events held in Anzac Parade, contact was sought with the following key organisations to gain their participation in the investigation, either through participation in a focus group or interview.
Two focus groups were held on 12 October 2011 in Canberra, and four interviews were undertaken by phone or in person as indicated below. Two of the interviews reflected on the importance of Anzac Parade and the memorials from an international perspective.
The following table indicates those organisations that were invited to participate, those that did, and in what form.
Table 2. Participation of Armed Services Community in Community-based Value Research
| ||||
Contact | Organisation | Specific memorial (if applicable) | Participated? | |
Focus Group No. | Interview | |||
Colin Campbell | National Boer War Memorial Association | National Boer War Memorial | 1 |
|
Peter Cooke-Russell | Naval Association of Australia - ACT | The Royal Australian Navy Memorial | 1 |
|
Nang D-Quang | Vietnam Forces RSL Sub-branch | Vietnam | 1 |
|
Chris Hudson | ACT TPI Association (President) | - | 1 |
|
Peter McDermott | President - RAAF Association – ACT | RAAF Memorial | 1 |
|
Pat McGabe | Kindred Organisations Committee (KOC) | - | 1 |
|
Major Gen. Ian Gordon | Peacekeeping Memorial | Peacekeeping Memorial | 2 |
|
Fred McArdle | Peacekeeping | Peacekeeping Memorial | 2 |
|
Dave Mills | ACT RSL | - | 2 |
|
Peter Ryan | Australian Vietnam Forces National Memorial | Australian Vietnam Forces National Memorial | 2 |
|
Nigel Webster | The National Boer War Memorial | The National Boer War Memorial | 2 |
|
Mr Taylan Aytin Second Secretary | Turkish Consul
| The Kemal Ataturk Memorial | - | - |
Ambassador, | Embassy of Greece | The Australian Hellenic Memorial |
| 13/10/11 |
Ian Crawford |
| Australian National Korean Memorial |
| 11/10/11 (phone) |
Commander David Hedgley | New Zealand High Commission | The New Zealand Memorial |
| 13/10/11 |
Mr Michael Kazan | Cultural Advisor, Hellenic Club of Canberra Inc | The Australian Hellenic Memorial |
| 13/10/11 |
Stewart Mitchell | AWM | - |
| 13/10/11 |
Mr Ken Gillam – President | Rats of Tobruk Association – association ceased in April 2011 | Rats of Tobruk memorial | - | - |
Peter Collins – Past Member | Rats of Tobruk Association – association ceased in April 2011 | Rats of Tobruk memorial | - | - |
- | Army | The Australian Army Memorial | - | - |
- | Nurses Association | Australian Service Nurses Memorial | - | - |
An attempt was made to contact the following organisations by phone and email but without response within the time frame available:
4.4 Review of Artistic and Creative Sources
Scope
This section is based on work undertaken by Dr David Young and provides a review of the visual art, literature and photography that feature Anzac Parade since the axis of the Parade was first included in the 1911 design for Canberra by Walter Burley Griffin. It has been briefly updated given the presence of two additional memorials from 2017.
It also considers public representations of Anzac Parade, that is snapshots posted on four photo websites.
Memorials
Along both sides of Anzac Parade are 13 memorials dedicated to specific aspects of armed conflicts in which Australia has been involved – there are also two vacant niches that in time will be the sites of additional memorials.
Both Anzac Parade itself and the specific memorials have been interpreted by other artists, notably photographers, and this will be addressed below.
A number of the memorials were designed by leading artists, often in association with architects and other design professionals. A list of the memorials and a discussion of the artists and designers involved is provided below. The status of the artists and designers and the care and detailed attention that goes into the design brief and reviews, is an important indicator of the status of this place.
The memorials, individually and as a collection, are closely associated with Anzac Parade both geographically and contextually, and contribute to its aesthetic values.
Table 3. Discussion of the Artists and Designers of the Anzac Parade Memorials
| |
Memorial | Discussion
|
Hellenic Memorial | Dedicated on 21 May 1988, the Hellenic Memorial was designed by the architects Ancher, Mortlock and Woolley Pty Ltd, with its mosaic floor executed by Mary Hall.
Mary Hall is a notable Australian artist, who won the 1984 Blake Prize for her five-panel mosaic, The Spirit of God hovered brooding over the face of the water. This work is held in the Powerhouse Museum Collection. |
Australian Army National Memorial | Dedicated on 1 November 1989, the Australian Army National Memorial was designed by sculptors Joan Walsh Smith and Charles Smith of Western Australia, in collaboration with Ken Maher and Partners, architects. The Smiths specialise in memorials and public art works. Among the prizes they have won is the Centenary Medal (2001) for service to the arts through the creation of large scale sculptures. Ken Maher won the 2009 Australian Institute of Architects Gold Medal (Smith Sculptors, ‘National Memorial to the Australian Army, www.smithsculptors.com/National_Memorial_to_the_Australian_Army_Main_Page.html, accessed October 2011; https://www.architecture.com.au/prizes/gold-medal). |
Australian National Korean War Memorial | Dedicated on 17 September 1999, the Australian National Korean War Memorial was designed by the ANKWM Design Group, led by Les Kossatz and including Augustine Dall’Ava, David Bullpit and Sand Helsel, in conjunction with the architectural firm Daryl Jackson Pty Ltd. Les Kossatz (1943-2011) was an internationally recognised sculptor, whose work is held in many major Australian galleries, including the NGA. He is best known for his numerous sculptures of sheep (Robin Gibson Gallery, robingibson.net/, accessed October 2011). Augustine Dall’Ava (born 1950) is a sculptor and lecturer at Monash University, Melbourne. His work is held in numerous collections including that of the NGA (Australian Virtual Galleries, ‘Augustine Dall’ava CV’, www.iainreid.com.au/sculpture/wikipedia_dallava.htm, accessed October 2011, site active 4 August 2022). |
Vietnam Forces National Memorial | Dedicated on 3 October 1992, the Vietnam Forces National Memorial was designed by Ken Unsworth AM in collaboration with the architects, Tonkin Zulaikha Harford. Ken Unsworth (born 1931) is a sculptor, installation artist and performance artist. He has received numerous awards for his work including the Bi-Centenary Sculpture Competition Award 1970, and he was made a Member of the Order of Australia for services to sculpture in 1989 (Boutwell Draper Gallery, ‘Ken Unsworth’, www.boutwelldrapergallery.com.au/artist-profile-detail.php?idArtistInfo=203, accessed October 2011, site active 4 August 2022). |
Desert Mounted Corps Memorial | The Desert Mounted Corps Memorial was originally erected in Port Said, Egypt, in 1932. It was partly destroyed during the Suez conflict of 1956. In 1964 a replica was made by Ray Ewers OAM and erected in Albany, WA, the port from which troopships left for Europe in WWI. A second copy was made and unveiled in Anzac Parade on 19 April 1968.
Three sculptors had a hand in casting the original statue. C Web Gilbert won the design competition in 1923. He died before he was able to finish the monument. Some sources say the immensity of the task and Gilbert’s inexperience broke his heart and his spirit. Paul Montford, a leading British sculptor, then worked on the sculpture for some time before it was passed on to another Australian, Sir Bertram Mackennal. Mackennal had a team of British assistants to help him but died before it was unveiled (Info Barrel, ‘The Desert Mounted Corps Memorial – WA’, www.infobarrel.com/The_Desert_Mounted_Corps_Memorial_-Western_Australia#axzz1b1IaxCju, accessed October 2011, site active 4 August 2022). Ray Ewers (1917-1998) was an Australian war artist during WWII. He produced 32 dioramas of war scenes and 22 statues at the AWM until the 1960s (Wikipedia, ‘Raymond Boultwood Ewers, en.wikipedia.org/wiki/Raymond_Boultwood_Ewers, accessed October 2011). |
Boer War Memorial | Dedicated on 31 May 2017, the Boer War Memorial was designed jointly by Pod Landscape Architecture and Jane Cavanough, and the sculptor was Louis Laumen. Cavanough has qualifications in both landscape architecture and the visual arts, and designs site specific public art. She has achieved some success in competitions. Laumen is a Melbourne-based sculptor born in the Netherlands. He has qualifications in fine arts and has been responsible for numerous commissions, and has otherwise been a finalist in several competitions, sometimes as part of design teams. |
New Zealand Memorial | Dedicated on 24 April 2001, the New Zealand Memorial, a gift to Australia from the people of New Zealand, was designed by Kingsley Baird and Studio of Pacific Architecture, together with paving designs by Toi Te Rito Maihi and Allen Wihongi (east side), and Daisy Nadjungdanga in association with Urban Art Projects (west side). Baird (born 1957) is a Wellington (NZ)-based designer, whose work is mostly concerned with the themes of memory and remembrance. His work in New Zealand includes The Tomb of the Unknown Warrior at the National War Memorial, New Zealand (Kingsley Baird, www.kingsleybaird.com/, accessed October 2011). |
Australian Peace-keeping Memorial | Dedicated on 14 September 2017, the Australian Peacekeeping Memorial was designed by Super Colossal, an architectural practice based in Sydney. |
Rats of Tobruk Memorial | Dedicated on 13 April 1981, the Rats of Tobruk Memorial was designed by the architects Denton Corker Marshall. Marc Clark was the consultant sculptor on the project, and he also designed and created the ‘eternal flame’ component of the memorial. Clark (born 1923) studied sculpture in England before serving in the North Africa campaign during WWII. He migrated to Australia in 1960. His work is held by many state and regional galleries as well as the NGA and Parliament House (Australian Virtual Galleries, ‘Marc Clarke CV, www.iainreid.com.au/sculpture/marc_clark.htm, accessed October 2011, site active 4 August 2022). |
Royal Australian Air Force Memorial | Dedicated on 15 March 1973, the original Royal Australian Air Force Memorial was designed by Inge King AM. The later three black granite walls behind the sculpture were designed by Robert Boynes. Inge King was born in 1918 in Berlin, where she also studied sculpture. In 1939 she fled from Nazi Germany to England, and in 1951 she migrated to Australia, where she established herself as large-scale non-figurative sculptor. She has won numerous awards for her work, including the City of Melbourne Honoured Artist Award 1997. In 2009, the Australian Arts Council awarded her the Visual Arts Emeritus Award, which recognised her pivotal role in raising the profile of modern sculpture in Australia (Wikipedia, ‘Inge King’, en.wikipedia.org/wiki/Inge_King, accessed October 2011). |
Australian Service Nurses National Memorial | Dedicated on 2 October 1999, the Australian Nurses National Memorial was designed by Robin Moorhouse, a Sydney-based artist, who trained as a jeweller and silversmith before becoming a sculptor, in conjunction with MonuMental Design and Australian nursing associations. The design was the result of a competition (Inglis, 1998, p. 485; PNGAA Library, ‘The dedication of the Australian Services Nurses National Memorial, www.pngaa.net/Library/NurseMemorial.html, accessed October 2011). |
Royal Australian Navy Memorial | Unveiled on 3 March 1986, the Royal Australian Navy Memorial was designed by sculptor Ante Dabro in collaboration with the architects Lester Firth and Associates and Robert Woodward. Dabro (born 1938) is a Croation-born sculptor who has been based in Canberra since the late 1960s. He lectured in the ANU School of Art from 1971 to 2004, and is regarded as one of Australia’s leading figurative sculptors (Wikipedia, ‘Ante Dabro’, en.wikipedia.org/wiki/Ante_Dabro, accessed October 2011; ACT Museums & Galleries, ‘Ante Dabro’, www.museumsandgalleries.act.gov.au/cmag/ante_dabro.html, accessed October 2011, site active 4 August 2022). |
Kemal Ataturk Memorial | Dedicated on 25 April 1985, the Kemal Ataturk Memorial was designed by architectural firm PDCM Pty Ltd and Hüseyin Gezer. Gezer (born 1920) is a Turkish sculptor who specialises in figural works. He is regarded as having made an important contribution to statue art in Turkey, where he also worked as Director of the Academy of Fine Arts in Istanbul between 1969 and 1976. His output includes several monuments to Ataturk (Artfact, ‘Huseyin Gezer (1920), www.artfact.com/artist/gezer-huseyin-68sff3dyce, accessed October 2011, site active 4 August 2022). |
Analysis of the memorials
Most of the memorials have been created – or jointly created – by widely recognised major artists – Mary Hall, Joan Walsh Smith and Charles Smith, Les Kossatz and Augustine Dall’Ava, Ken Unsworth AM, Ray Ewers OAM, Kingsley Baird, Marc Clark, Inge King AM, Ante Dabro and Hüseyin Gezer. Robin Moorhouse, the designer of the Australian Nurses National Memorial, is a Sydney-based jeweller and silversmith, and now a sculptor. She has been widely praised for this memorial.
It is true that each of the memorials was in a sense designed to a brief by a committee, and that some of the consultative processes involved compromise. In the case of the Vietnam Forces National Memorial, the arguments and ensuing compromises have been documented (for an example see Inglis 1998, pp. 407-408). Some may argue that a work born of compromise is not a true work of art, since it does not result from a single clear vision. Be that as it may, the memorials indisputably have meaning, both for those closely connected to them and to the wider public.
They have also been widely photographed by the general public, and the numerous images published on web-based photo sites suggests that they are as interested in the details of the memorials as they are in the collection as a whole.
Some of the memorials have been well-depicted in publications. In 1976 Cedric Emanuel included drawings of two of the memorials – the Desert Mounted Corps Memorial and the Royal Australian Air Force Memorial – in his Canberra Sketchbook. In 1995 Jean Weiner’s cartoon, ‘Inauguration Day: Australian Vietnam Forces National Monument’ appeared in Guy Freeland’s Canberra Cosmos, and in 1998 it was given further exposure in Ken Inglis’ Sacred Places: War Memorials in the Australian Landscape.
The memorials have also been documented twice by professional photographers for Commonwealth Government departments and agencies. In 2002, Damian McDonald photographed all the memorials for the National Library of Australia. His work is accessible on the Library’s website and is offered for sale as a set of photographs to the general public. In 2007, Steve Wray and Dragi Markovic shared the job of photographing the memorials for the then Department of the Environment and Water Resources (now the Department of Agriculture, Water and the Environment). Their work is also accessible on the web and available for sale to the general public.
While the individual memorials have special significance to different groups of people – based upon personal or family connections with the events memorialised or in some cases upon ethnicity (this is explored further below) – the memorials are experienced as a group or collection by a large number of people, many being visitors to Canberra. The memorials may therefore be viewed as a de facto sculpture park, albeit one based upon a common theme. And it is perhaps in this way that for many people the memorials contribute to the aesthetic significance of Anzac Parade.
Anzac Parade as a whole
Visual Art
The axis of what is now Anzac Parade has featured in paintings from long before the road itself was officially opened in 1965. The first work to include the line of the road is Louis McCubbin’s work, The Inauguration of the Australian War Memorial, Canberra, ANZAC Day 1929 (Australian War Memorial, ART09852, cas.awm.gov.au/item/ART09852, accessed October 2011).
Figure 82. The Inauguration of the Australian War Memorial, Canberra, ANZAC Day 1929, by Louis McCubbin (92.2 x 234.2 cm, oil on canvas)
Source: Australian War Memorial, Negative Number ART09852, cas.awm.gov.au/item/ART09852
In 1938, Robert Emerson Curtis depicted the Australian War Memorial, viewed from the slopes of Mount Ainslie, looking towards the then Provisional Parliament House. Curtis (1899-1996) was born in England and migrated to Australia with his parents. Between the wars, he worked as an artist, illustrator and cartoonist. He spent much of his service in World War 2 recording the activities of Australian and American troops. In January 1945 he was appointed an official war artist. The work, Canberra War Memorial from Mt Ainslie (29.5 x 37.8 cm, carbon pencil on paper), is held at the Australian War Memorial (ART29725, cas.awm.gov.au/item/ART29725, accessed October 2011). This work is executed from a vantage point behind the Australian War Memorial, and its view includes the line of Anzac Parade (Warwick Heywood, Curator of Art, Australian War Memorial, personal communication, 18 October 2011).
Curtis depicted the Australian War Memorial in a drawing of 1945, War Memorial, Canberra, also held at the Australian War Memorial (ART29723, cas.awm.gov.au/item/ART29723, accessed October 2011). However, this work does not depict any part of what became Anzac Parade (Warwick Heywood, Curator of Art, Australian War Memorial, personal communication, 18 October 2011). In the same year, Curtis painted the Australian War Memorial. It had by now been opened for four years, but Anzac Parade was only a grass track at the time.
Figure 83. Thanksgiving service in celebration of Victory in Europe held on the steps of the Australian War Memorial, Canberra, 9 May 1945, by Robert Emerson Curtis, 1945 (pencil, watercolour, heightened with white on paper) Source: Australian War Memorial, Negative Number ART25669, cas.awm.gov.au/item/ART25669 |
Harold Abbott’s oil painting of the Australian War Memorial on Victory in the Pacific (VP) day, August 1945, also features a large crowd, but does not show any of the future Anzac Parade (Australian War Memorial, ART22923, cas.awm.gov.au/item/ART22923, accessed October 2011).
In the early 1960s, the National Capital Development Commission commissioned Lawrence Daws to produce representations of Lake Burley Griffin that would assist in the design of its surrounding landscape. Daws (born 1927), a trained engineer and architect, first came to prominence as a painter at a group exhibition in Melbourne in 1955. From then on he has had numerous solo exhibitions both in the major Australian cities and overseas (McCulloch 1984, p 208). For the NCDC he produced The Landscape of the Central Basin, Canberra, ACT, currently in the collection of the Canberra Museum and Gallery. The painting is a map-like work, not specifically focussed on Anzac Parade (Deborah Clark, Curator of Visual Arts, Canberra Museum and Art Gallery, personal communication, 18 October 2011).
In 1964, the NCDC commissioned Kenneth Jack to produced sketches of the national capital for its publication The Future Canberra. However, none of Jack’s sketches in this book is an image of Anzac Parade (Fiona Blackburn, Community Liaison Librarian, ACT Heritage Library, personal communication, 17 October 2011).
In 1965, the year that Anzac Parade was officially opened, the painter, teacher, illustrator, cartoonist and muralist, Harold Freedman (1915-1999) produced the series Canberra Lithographs. These include ‘Canberra from Capital Hill Looking North-East’, which is essentially a panoramic view of Lake Burley Griffin with Anzac Parade at the centre of the work. A pencil version is held in the National Gallery of Australia’s collection (artsearch.nga.gov.au/Detail.cfm?IRN=44335, accessed May 2012).
Figure 84. Canberra from Capital Hill looking north-east 1965, by Harold Freedman (pencil, image 27.8 x 91 cm, sheet 43.8 x 98.4 cm)
Source: National Gallery of Australia, Canberra, Purchased 1966
In 1976, Roberts (1976, passim) published Cedric Emanuel’s Canberra Sketchbook. It contains sketches of two of the memorials that line Anzac Parade – the Desert Mounted Corps Memorial and the Royal Australian Air Force Memorial. Emanuel (1906-1995) worked as a freelance artist for most of his working life. He published numerous sketchbooks, and his work is held by major galleries including the National Gallery of Australia (Roberts 1976, passim).
In 1993 David Watt made a series of three works titled Amendments 1993 (gouache drawings on colour photographs), in which photos of iconic Canberra landmarks are depicted with mundane but recognisably Australian objects superimposed. Two of the pictures in the series depict Anzac Parade, with the pond surrounded by a phalanx of Victa lawnmowers in one, and with carports surrounding the red gravel centre strip in the other. The works form part of the National Gallery of Australia’s collection, and were displayed in an exhibition at the Canberra Museum and Gallery in 2010 (Deborah Clark, Curator of Visual Arts, Canberra Museum and Gallery, personal communication, 13 October 2011).
Watt (1952-1998) was a painter, sculptor and teacher, who also taught at Curtin University and then the ANU. During his time in Canberra (1991-1998) he was a prominent member of the local arts community (ACT Museums & Galleries, ‘David Watt’, www.museumsandgalleries.act.gov.au/cmag/DavidWatt.html, accessed October 2011, site inactive 4 August 2022; Deborah Clark, Curator of Visual Arts, Canberra Museum and Gallery, personal communication, 13 October 2011).
Jean Weiner’s 1995 cartoon, ‘Inauguration Day: Australian Vietnam Forces National Monument’, was published in Guy Freeland’s Canberra Cosmos (Freeland 1995, p. 99). Nothing has come to light regarding Weiner’s standing as an artist.
Figure 85. Inauguration Day: Australian Vietnam Forces National Monument, by Jean Weiner Source: Freeland 1995, p. 99 |
In 2002, Bob Marchant depicted the sixtieth anniversary of the opening of the Australian War Memorial. While largely figurative, the painting includes the parade ground at the end of Anzac Parade. The work was commissioned by the Australian War Memorial and is included in its collection (ART91794, cas.awm.gov.au/item/ART91794, accessed October 2011). Marchant (born 1938) is mainly a figurative painter. In 1988 and 1989 he won the Sulman Prize.
Figure 86. 60th anniversary of opening of the Australian War Memorial, Remembrance Day, 2001, by Bob Marchant (150 x 250 cm, oil on canvas)
Source: Australian War Memorial, Negative Number ART91794, cas.awm.gov.au/item/ART91794
In 2004 the National Capital Authority commissioned the architectural watercolourist John Haycroft to illustrate its publication, The Griffin Legacy. The book contains one digitally enhanced watercolour image of Anzac Parade.
Figure 87. Rond Terraces Amphitheatre, by John Haycroft (digitally enhanced watercolour, 2004) Source: NCA 2004, p. 187 |
Photography
Very few professional photographers of national standing have published photographs of Anzac Parade. The most prominent of those who have is Steve Parish, a Melbourne-based photographer who has won several major national awards and published at least twenty books in his fifty-year career as a photographer (Wikipedia, ‘Steve Parish’, en.wikipedia.org/wiki/Steve_Parish, accessed October 2011; Angus & Robertson, ‘All books by Steve Parish’, www.angusrobertson.com.au/by/steve-parish, accessed October 2011, site inactive 4 August 2022). However, he has published only one photograph of Anzac Parade, Sunset over the Parliamentary Triangle, Canberra. This is a view in a southerly direction from Mount Ainslie along Anzac Parade to Parliament House. It forms part of a series of colour postcards of Canberra that Parish published in 1990 (ACT Heritage Library, Manuscript Collection, www.library.act.gov.au/find/history/search/Manuscript_Collections/commercial_postcards, accessed October 2011).
Figure 88. Land Axis with Anzac Parade in the distance, by Heide Smith, 1992 Source: Smith 1992, p. 5 |
The professional art photographer whom one would have most expected to have published images of Anzac Parade is Heide Smith. Born in Germany, Smith took up residence in Canberra in 1978 and set up a studio there in 1982. She has a strong national reputation as a photographer, and her many awards include Australian Professional Portrait Photographer of the Year. Between 1982 and 1999 she published four books of photographs of Canberra. Between them they contain five images of the Australian War Memorial, but only one distant shot of Anzac Parade.
The professional photographer who has taken probably the greatest number of photographs of Anzac Parade is Damian McDonald (born 1971), a staff photographer at the National Library of Australia. The Library holds a collection of 56 of his black and white photographs and 27 of his colour transparencies of Anzac Parade, all taken in 2002. Twenty-eight of these shots are published on the Library’s website. They include night and daytime shots, as well as photographs of the individual war memorials and of the award-winning street lighting (Trove, trove.nla.gov.au/picture/result?q=anzac+parade+canberra+mcdonald&s=20, accessed October 2011, site inactive 4 August 2022).
The National Library of Australia website also includes four black and white images of individual memorials by Jon Rhodes (born 1947), an art photographer best known for his anthropological work (Art Gallery NSW, ‘Works by Jon Rhodes (1947- )’, www.artgallery.nsw.gov.au/collection/search/?artist_id=rhodes-jon, accessed October 2011).
Figure 89. Earthworks showing both carriageways of Anzac Parade, Canberra, photo by Richard Clough, c1962 Source: National Library of Australia, nla.pic-an14324452-95 |
The Library website (www.nla.gov.au/, accessed October 2011) and Picture Australia (www.pictureaustralia.org/, accessed October 2011, site inactive 4 August 2022) both hold 16 photographs by Richard Clough documenting the construction of Anzac Parade. Professor Clough (born 1921) was until his retirement in 1986 one of Australia’s leading landscape architects. He worked for the National Capital Development Commission from 1956 and was in charge of the landscape design of Lake Burley Griffin. His photographic collection contains images of Walter Burley Griffin’s plans for Canberra and other early documents dating from 1909, but it also holds numerous unattributed colour slides, many if not all of which were taken by Clough. There are many aerial shots. Clough’s images provide a workmanlike documentation of Canberra’s development, but they are not – and were not intended to be – art photos. Nor is Clough regarded as a nationally significant photographer. The above picture taken in the early 1960s gives an indication of his work.
Another to document the creation of Anzac Parade was Richard Charles Strangman, a professional photographer from Tumut, who worked in Canberra from 1927 until his death in 1969 (Photo-web, ‘R C Strangman’, photo-web.com.au/strangman/default.htm, accessed October 2011). The Picture Australia website holds five of Strangman’s photos showing the line of Anzac Parade between 1938 and 1940. The following, taken in 1940, shows that plantings of trees defined the route at that time.
Figure 90. View from Mount Ainslie looking south towards Parliament House, photo by Richard Charles Strangman, 1940 Source: Australian War Memorial, Negative Number XS0112, cas.awm.gov.au/photograph/XS0112 |
The ACT Heritage Library’s on-line collection of commercial postcards contains six postcards as well as the Steve Parish postcard previously referred to. It is probable that most contain photos taken by professional photographers, although all but one are un-named. The postcards date from 1940 to about 1999. The images are not displayed on the web, but their descriptions suggest that all are of the Land Axis, both towards the Australian War Memorial and towards Parliament House. There is one aerial shot (ACT Heritage Library, Manuscript Collection, www.library.act.gov.au/find/history/search/Manuscript_Collections/commercial_postcards, accessed October 2011).
The Picture Australia website claims to hold 199 images of Anzac Parade. However, many of these are wrongly catalogued, and others focus on people and events so closely that the background is obscured to the point that it could be almost anywhere. Of the relevant images, only five (apart from those already cited) may be attributed to professional photographers, the photo-journalists Darren Stones (3 images), Graham Tidy (1) and Bill Pedersen (1). All the other relevant images of Anzac Parade, including the memorials that line it, are either unattributed or are clearly by non-professionals.
The National Library of Australia’s Trove website claims to hold 682 images of Anzac Parade (Trove, ‘Anzac Parade, Canberra’, trove.nla.gov.au/picture/result?q=anzac+parade +canberra, accessed October 2011). Some are misfiled and the vast majority depict people and events such as Anzac Day parades and official visits. Of the images that intentionally focus on Anzac Parade and its memorials, only two (apart from those already cited) are attributed to professional photographers – the freelance photographer Steve Wray (1 image) (Steven Wray, home.earthlink.net/~swray, accessed October 2011), and Dragi Markovic (1), who is also believed to be a freelance photographer.
While not evidence of community value, Steve Wray and Dragi Markovic also shared the job of documenting the specific memorials along Anzac Parade for the then Department of the Environment and Water Resources (now the Department of Agriculture, Water and the Environment) in August 2007, Wray contributing 26 images and Markovic 28. These images are available on the Department’s website (‘Wray’ & ‘Markovic’, http://www.environment.gov.au/cgi-bin/heritage/photodb/imagesearch.pl, accessed October 2011).
The Australian War Memorial’s collection of on-line photographs includes 46 images of Anzac Parade (‘Anzac Parade, Canberra’, www.awm.gov.au/search/collections/?conflict=all&submit=Search&q=anzac+parade+canberra&page=5, accessed October 2011, site inactive 4 August 2022). However, of these only 14 clearly depict Anzac Parade. And even with these, the main focus is on an Anzac Day Parade. None is accredited to a specific photographer. The clearest image is below.
Figure 91. Fiftieth Anzac Day Commemoration Ceremony, Anzac Parade, Canberra, 1965 Source: Australian War Memorial, ‘Anzac Parade, Canberra’, Negative Number 135426 |
Literature
A brief review of the catalogues of the ACT Heritage Library failed to reveal any representations or significant mentions of Anzac Parade, in either fiction or poetry. It is possible that further research may reveal some references.
Research undertaken by Dr David Young in 2006 on artistic and creative sources on Lake Burley Griffin revealed a number of references in both works of fiction and poetry, however, it was concluded that none of the references contributed significantly to the evaluation of the aesthetic significance of the place. It is considered unlikely that a thorough search of references to Anzac Parade in fiction and poetry would provide results that would contribute significantly to the assessment of the aesthetic values of that place.
Taking snapshots
The images that people take can help us understand what they value and why. Today, many people share their images via photo websites. Three snapshot sites were also searched for images of Anzac Parade – Photobucket, Webshots and FlickR. Photographers who exhibit on these sites generally refer to themselves by nickname. Most are assumed to be amateurs. The search in late October 2011 of Photobucket yielded 50 images when searched with the key phrase ‘Anzac Parade Canberra’. Webshots yielded 263 images and FlickR 871 images. It is noted that since that time, other websites, such as Instagram, also include many images related to Anzac Parade.
Of the 50 Photobucket images, 27 were of Anzac Parade viewed down the Land Axis and 23 showed either aspects or the totality of specific memorials. Five photos included people.
The results for the 263 Webshots images were skewed because about 150 of them were by a single photographer, ‘fiveamrunner’, who concentrated upon documenting an Anzac Day dawn service. Of the remaining images, 55 showed views along the Land Axis, and 39 focussed upon either aspects or the totality of specific memorials.
Of FlickR’s 871 photos captured by searching for ‘Anzac Parade Canberra’, 251 did not appear to represent either Anzac Parade or the memorials along it. Of the remaining images, 186 were of specific memorials or aspects of them, with about 350 focussing on the Land Axis. About 314 of the latter were symmetrical. It is also interesting to note that three of the symmetrical photos were included within composite commercial postcards of Canberra.
The following images are a selection of shots taken from the web that document the development of Anzac Parade over time.
Figure 92. The main city axis, seen from Mount Ainslie, looking across the plantings which later became ANZAC Parade, 1926 Source: Australian War Memorial, Negative Number XS0001, cas.awm.gov.au/photograph/XS0001 |
Figure 93. Anzac Day 1949, photo taken with a box brownie Source: vk2ce, vk2ce.com/Canberra/ANZAC_Day_1949.jpg | ||
|
| |
Figure 94. Looking down Anzac Parade towards Parliament House, c1960 Source: Flickr, ‘Anzac Parade viewed from Australian War Memorial, www.flickr.com/photos/canberrahouse/4277859373 | ||
Figure 95. Looking down Anzac Parade towards Parliament House, 1965, photograph by M Brown Source: National Archives of Australia, A1200, L50337 |
Figure 96. Looking down Anzac Parade towards Parliament House, 1973 Source: Flickr, ‘Canberra House’, www.flickr.com/photos/canberrahouse/4525603350 |
Figure 97. Geoff and Paddy in front of the Anzac Parade, 2008 Source: Flickr, collection of Bridgett Peirce, www.flickr.com/photos/brigettepierce/2840439332 |
The last photo in this sequence is typical of several ‘tourist photos’ of Anzac Parade, all of which feature smiling young people (presumably tourists) with Anzac Parade stretching behind them towards either the Parliament Houses, or the reverse view to the Australian War Memorial.
Analysis
Of the paintings, drawings and prints that have featured Anzac Parade both before and after its official opening in 1965, only two clearly reflect the aesthetic values of the place – Harold Freedman’s lithograph ‘Canberra Looking South-East’ (1965) and John Haycroft’s digitally enhance watercolour, ‘Rond Terraces Amphitheatre’ (2004) (see above).
Freedman’s work was published in his 1965 book, Canberra Lithographs, and it can be assumed that at the time it was viewed by several thousand people. However, it is unlikely that it is well known today. Haycroft’s work appeared in The Griffin Legacy, which is still available and well known in Canberra.
Both works centre on Anzac Parade looking in the direction of Mount Ainslie. Their aesthetic strengths derive from the symmetry of the compositions, both of which reflect the natural geography of the area as well as the planned modified environment.
It is the same symmetrical strength of composition that has inspired large numbers of photographers (mostly amateurs) to focus on the symmetry of the Land Axis – both before and after 1965. The aesthetic value of Anzac Parade, therefore, may be seen not solely as an attribute of the space itself, but rather as based on the relationship of the elements, the parade and the flanking parks, within its broad visual context.
An analysis of the 314 symmetrically composed images centred on the Land Axis and published in FlickR (October 2011) gives an indication of the values appreciated by those who took them. Of the total, 262 (83%) were taken from the Australian War Memorial end of Anzac Parade. These images tend to place the new Parliament House prominently as the distant focus. Of the shots towards new Parliament House, 91 (29%) were taken from the Mount Ainslie lookout. Such shots tend to emphasise depth of field, with the most effective images incorporating the Australian War Memorial in the foreground, and with a background of hills surmounted by less than 25% of sky. In these shots, portrait layout seems to capture best the strong visual relationship between the Australian War Memorial, Anzac Parade, Lake Burley Griffin, Old Parliament House and new Parliament House.
Figure 98. View from Mt Ainslie, 2007 Source: Flickr, collection of jthommo101, www.flickr.com/photos/jthommo101/474973036 |
If any of these five related cultural elements were to be removed, the strength of the image would diminish considerably, as it would if Anzac Parade were to be narrower, less distinctively coloured or flanked by obtrusive buildings or roads. The trees provide a strong framing element.
The photographer who took the image above subtitled it, ‘The most photographed scene in Canberra’. While this assertion is not easily tested, this image is certainly typical of numerous similar shots displayed on the FlickR website. As will be seen below from other sources, this is a ‘classic’ Canberra image.
About 60% of the FlickR photos of Anzac Parade taken in the direction of new Parliament House are shot from in front of the Australian War Memorial rather than from the Mount Ainslie lookout.
Figure 99. Anzac Parade, 2006 Source: Flickr, collection of Dr Hotdog, www.flickr.com/photos/11878856@N00/108671965 |
Figure 100. Anzac Parade, 2009 Source: Flickr, collection of CS Hiland, www.flickr.com/photos/hokiespice/4051593264, site inactive 4 August 2022 |
The aesthetic qualities of both preceding shots are based upon the strong perspective created by Anzac Parade, which leads the eye to Old Parliament House. The compositions differ, as do all 176 shots from the Australian War Memorial at road level, mainly in the placement of the camera. ‘Dr Hotdog’ has chosen the Stone of Remembrance as the foreground, while CS Hiland has chosen to stand further back and frame the image with the flagpoles in front of the Australian War Memorial. The Stone of Remembrance, flags, bollards and the railings either side of the steps have all been chosen by numbers of photographers as the foregrounds of their compositions.
With shots of Anzac Parade in the direction of the Australian War Memorial, photographers tend to be as concerned with the choice of background as much as foreground, that choice being between the Australian War Memorial or Mount Ainslie, as seen below. In both cases, it is Anzac Parade itself which provides the foreground rather than any discrete object, and its strength as such has much to do with the striking colour of the centre median and often the shadows that play on it.
Figure 101. Australian War Memorial, 2006 Source: Flickr, collection of Sparky the Neon Cat, www.flickr.com/photos/sparkytheneoncat/4237636332 |
Figure 102. Anzac Parade, 2006 Source: Flickr, collection of zzen, www.flickr.com/photos/zzen/194021642 |
It should also be noted that 38 (12%) of the FlickR shots are night shots, which capitalise upon the lines of street lighting running either side of Anzac Parade. At night these reinforce the strong perspective of the composition more powerfully than they do by day.
Figure 103. Anzac Parade Canberra, 2011 Source: Flickr, collection of Gordon Anderson, www.flickr.com/photos/34664426@N04/5667782472 |
Although the number of leading professional art photographers who have published or exhibited photos of Anzac Parade would appear low, the plethora of web-published amateur photos of Anzac Parade that are centred on the Land Axis attests to its community aesthetic appeal.
Of the professional photographers, it may be noted that Heide Smith chose a symmetrical view centred on the Land Axis for her sole published photograph of Anzac Parade (see above). Furthermore, it is noteworthy that similar photos centred on the Land Axis appear on Steve Parish’s 1990 postcard, on five other sole-image commercial postcards of Canberra by anonymous professional photographers, as well as being included in the groups of images that comprise at least three composite commercial postcards of Canberra. In combination, this evidence indicates that this view is ‘iconic’ in the sense that it is ‘readily recognized and generally represents an object or concept with great cultural significance to a wide cultural group’ (Wikipedia, ‘Cultural Icon, en.wikipedia.org/wiki/Cultural_icon, accessed October 2011).
It is also the case that Anzac Parade’s iconic status derives in part from its close association with the Australian War Memorial, claimed by the Department of Foreign Affairs and Trade to be an icon ranking ‘among the world’s great national monuments’(DFAT, ‘National Icons’, www.dfat.gov.au/facts/national_icons.html, accessed October 2011, site inactive 4 August 2022).
Even David Watt’s two images of Anzac Parade included in his Amendments 1993 series of paintings, suggest that the place was chosen for a gentle debunking precisely because of its iconic quality.
So too, it may be argued, does the fact that many tourists, especially young ones, favour shots of themselves standing in the foreground looking at the camera with Anzac Parade stretching behind them. Nineteen of the 314 photos of Anzac Parade on the FlickR website are of this type (6%). Such photos are commonly taken by tourists in front of many of Australia’s major icons – Cradle Mountain, the Sydney Opera House and Uluru, to name three.
While it may be seen as stretching a point to include Anzac Parade alongside such prestigious company, it may nevertheless be argued that Anzac Parade is of a type with the three named major Australian icons. It differs from Cradle Mountain, Sydney Opera House and Uluru only in its being slightly less well known, and probably immediately recognisable by slightly fewer people.
But Anzac Parade, of course, is more than merely a view. It was designed as a place in which events would occur, and sometimes the numbers at such events have been large. For example, 13,500 attended ANZAC Parade Open Day/Night joint event in 2000 (Natalie Broughton, National Capital Authority, personal communication, 26 October 2011).
In all events held at Anzac Parade, the main intentions are generally to commemorate, to show respect and to instil pride, the main moods experienced being those of reflection and contemplation. These moods, in tandem with the emotions experienced by visitors, form part of the general response to the place. As such, they must be taken into account when assessing its aesthetic value.
While there are many photos on the web that clearly indicate that strong emotions are being experienced by both participants and observers at ceremonies on Anzac Parade, such photos tend to concentrate upon the people and virtually exclude Anzac Parade itself as a recognisable place. The photo above is a case in point. It shows ex-servicewomen marching up Anzac Parade to the saluting base in 1972. While their pride is evident, they could be on almost any street.
Figure 104. Anzac Day, 1972 Source: ACT Heritage Library, item 008258, Canberra Times Collection, www.library.act.gov.au/find/history/search |
On the other hand, in those images of parades which privilege the place rather than the people, the dwarfed figures do little either to convey the emotions felt or to induce emotion in the viewer.
While images certainly exist that convey the power of place of the Australian War Memorial together with the emotions of people present (Bob Marchant 2001), if similar images of Anzac Parade exist, to date they have not been identified.
4.5 Review of Tourism Imagery
Tourism images are used in aesthetic values assessments as evidence of expert opinion on places that are most likely to have a strong aesthetic appeal to the wider community and are therefore likely to attract people to visit that locality. Common sources of tourism images are websites, tourism brochures and postcards. Both websites and brochures may be used to help plan a visit, and as a guide when in the locality. Postcards are most often purchased while visiting to capture an aspect of one’s experience of a place, and to keep it as a souvenir or share it with others ‘back home’.
Within the scope of this plan, the tourism materials looked at were limited to websites.
Visit Canberra is the main Canberra tourism website, and most other sites link to it. The Australian War Memorial is promoted as,
‘‘Here is their spirit, in the heart of the land they loved; and here we guard the record which they themselves made’ (Charles Bean, founder).
The Australian War Memorial commemorates the sacrifice of Australian men and women who served in war. Visit one of the world's great museums; an outstanding archive and centre for research into Australia's wartime history.
Pay your respects and reflect. Find out what it was like to be in war. Connect with people and events that helped shape Australia.
Share this unique experience with your family and friends today. Discover what it means to be Australian.’ (Visit Canberra, www.visitcanberra.com.au/, accessed 13 Sep 2011)
Memorials, listed under Landmarks & Architecture, put Anzac Parade first (with at least one inaccuracy),
‘Discover Anzac Parade on foot — with its red gravel symbolising the bloodied sands of Gallipoli, and planting extending up to the Australian War Memorial, the walk takes in 11 small memorials dedicated to battles in which Australians fought.’
Figure 105. Aerial view of Anzac Parade Source: Visit Canberra, www.visitcanberra.com.au/ |
The website further describes Anzac Parade as,
‘Anzac Parade is the national capital’s major ceremonial avenue. Memorials dedicated to the Australian and New Zealand service men and women who have fought and lost their lives in war line the length of the Parade. The national capital's major ceremonial avenue is set along the Land Axis, forming a key feature of the original 1912 plan for Canberra by Walter Burley Griffin. Anzac Parade is easily recognisable from the Mt Ainslie lookout. Explore and learn about Anzac Parade's national memorials with a self guided walking tour brochure or podcast. Download your free podcast from [the NCA’s] web site.’
Canberra and Region Visitors Centre website focuses on accommodation and tours. A review of the short tours within Canberra identified the Australian War Memorial as a must-see – it is included on all listed short tours. However, no tour images include Anzac Parade. (Canberra Tourism, canberratourism.com.au, accessed 13/9/2011)
Figure 106. Anzac Parade, looking towards Parliament House Source: Tourism Australia, www.australia.com/canberra.aspx |
On the Tourism Australia website, the Australian War Memorial is listed as one of five ‘capital attractions’ (Tourism Australia, www.australia.com/canberra.aspx, accessed 13 Sep 2011, site inactive 4 August 2022).
4.6 Events and Activities
Visitors, events and guided tours
As an open space, it is difficult to estimate the number of people who visit Anzac Parade and walk to each of the memorials.
Anzac Parade is the location of many events associated with commemoration. The NCA advises that on average, eleven events have been held annually on Anzac Parade (based on data for 2009–2011). A list of some of the annual events held at each memorial is included in a table below.
The number who attend Anzac Day is not usually recorded, but numbers are growing. In 2000, the NCA advises that 13,500 attended the ANZAC Parade Open Day/Night joint event with the Australian War Memorial. In 2019, about 45,000 attended the dawn service and day time ceremonies.
Until around 2011, the NCA offered guided tours of Anzac Parade, and these were led by Ron Metcalfe OAM, a World War 2 veteran. These tours were very popular and promoted through the Australian War Memorial, as well as via the NCA website. The tours (Anzac on Parade) were offered by the NCA over a number years, with the highest numbers attending being 800+ in 2005-07, and a more typical year being around 180-200 (Natalie Broughton, email, 26/10/2011).
When Ron Metcalfe was no longer able to act as a guide, the conducted tours stopped. The NCA subsequently prepared the Anzac Parade Walking Tour Podcast (2009) which was available from its website. It featured interviews with a number of ex-service personnel, including Ron Metcalf, and provided information on each memorial. While this is no longer available, self-guided tours are available (https://www.nca.gov.au/attractions/take-tour).
The NCA describes the significance of Anzac Parade as,
‘visually powerful, with a red gravel central strip and dark eucalypt ‘walls’. The red gravel of the central strip was originally made from crushed Canberra house bricks. The material was chosen in part for the similarity to the ‘crunch’ made by military boots during a parade. The ‘walls’ are created by the Victorian Blue Gum, Eucalyptus bicostata, and the planter boxes, which contrast in colour to the crushed red brick paving, [had at the time] the native New Zealand plant Hebe ‘Autumn Glory’ growing in them (symbolising the Anzac connection).’ (https://www.nca.gov.au/sites/default/files/2021-12/Anzac%20Parade_WalkingTour_Flyer%20online.pdf, accessed 4 August 2022)
The NCA podcast is regularly accessed from their website, with 432 hits in 2008-09, the year it was launched, but fewer in 2010-11.
The podcast highlights the importance of some of the memorials from the perspective of those with associations to this place. Ron Metcalfe, with his long associations as a guide to Anzac Parade and as an ex-serviceman, thinking about the view and the links along the Land Axis, says,
‘The War Memorial and Anzac Parade and Parliament all are linked, in my opinion, as just Australia, what we felt was the right thing to do about the world and to honour people that died and to bring that history to the young… It’s always a remembrance issue and it seems to me the whole linked with Parliament itself, it couldn’t be more appropriate really, it’s what Australia thinks is a good idea.’
Much of the podcast focuses on interpreting the symbolism of each memorial and of Anzac Parade itself. As such the podcast is a valuable interpretive device. For example,
‘The red gravel forecourt is a good place to take in the overall effect of the Memorial – the gravel itself suggestive of a parade ground. Indeed, the same red gravel along the centre of Anzac Parade accommodates military parades and ceremonials on special occasions – such as Anzac Day... with the colour representing bloodshed in war.’
As noted elsewhere, the symbolism attached to the red gravel appears to have been a development after the design, rather than as part of the original design.
Looking at the Australian Army National Memorial, with its sculpture ‘Every Mother’s Son’ depicting two infantrymen, World War 2 veteran, William Higgy OAM, explains the symbolism and significance the memorial has for him.
‘It has a rock-like formation which… is a reflection of the army’s relationship to the land. There is a reflecting pond, this is again symbolic of the journey over water that our troops, that our service people have taken and it’s facing east. So you have there the symbolism of the rising sun and the dawn of the new day and it has at its base the radiating army insignia.’
In this memorial, as in others, ‘it is Australians rather than the Australian Army whose involvement is remembered’ (NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022). The inclusion of ‘people’ is common across the set of memorials, but in some instances reflects subsequent additions, such as at the Royal Australian Air Force Memorial (originally from 1973) where a black granite backdrop was added in 2002 (NCA, https://www.nca.gov.au/attractions/take-tour/anzac, accessed 4 August 2022).
Community activities and events
Most of the events held in Anzac Parade are commemorative events at a particular memorial, and each attracts a particular audience of people with connections to that memorial. A number of examples are described below, in the words of those who participated (see also Section 4.7).
A list of memorials, their dates of dedication and the regular events held is provided below. This listing may not be complete. It is based on the citation for Anzac Parade developed by ACT Heritage (1998, pp. 6-9).
Table 4. Details of Commemorative Ceremonies held at Memorials
| ||
Memorials | Dedication | Commemorative ceremonies
|
Australian Hellenic Memorial | 1988 | Regular ceremonies – notably March 25 (Greek National Day) and the Battle of Crete (last Sunday in May) |
Australian Army National Memorial | 1989 | Regular ceremonies – notably March (Army Birthday) |
Australian National Korean War Memorial | 2000 |
|
Australian Vietnam Forces National Memorial | 1992 | Regular ceremonies – notably August 18 (Long Tan Day) and October Long Weekend (Candlelight Wreath Laying Ceremony) |
Desert Mounted Corps Memorial | 1968 | Regular ceremonies – notably in October |
Boer War Memorial | 2017 |
|
New Zealand Memorial | 2001 |
|
Australian Peacekeeping Memorial | 2017 |
|
Rats of Tobruk Memorial | 1983 | Regular ceremonies – notably in early April |
Royal Australian Air Force Memorial | 1973, plaques 1993, backdrop 2002 | Regular ceremonies – notably for squadron reunions |
Australian Services Nurses National Memorial | 1999 |
|
Royal Australian Navy Memorial | 1986 | Regular ceremonies – notably during Navy Week |
Kemal Ataturk Memorial | Anzac Day 1985 | Regular ceremonies – notably on 10 November |
4.7 Community perceptions, meanings and associations
This section of the report describes the values attributed to Anzac Parade for each associated community that emerged from the investigations into social and community-held aesthetic significance described above.
From the work undertaken for this plan, and considering earlier assessments and other research, the following themes have emerged for Anzac Parade:
These themes are discussed below.
Anzac Parade as a symbolic space
Anzac Parade is imbued with an array of symbolic meanings, linked to concepts of democracy, service and remembrance. As part of the expression of Australia as a nation, Anzac Parade is at the heart of and linked to significant national symbols. Previous assessments have highlighted a number of aspects of the symbolism of the larger landscape and Anzac Parade.
For focus group participants, they regarded Anzac Parade as having national significance for Australians as part of our collective memory and way of understanding ourselves. They saw it as the place where,
‘(there is) national recognition of their sacrifice... for our country and nation... as something important to hang on to
...as a focus for commemoration
...as a place where people can pay their respects to [others] who have sacrificed themselves for freedom and democracy... like going to a worship place.
...it’s not a place for the glorification of war, it is not a religious place, it is a secular place... and yet it encompasses all those feelings.’
The idea that Anzac Parade helps Australians understand themselves, in the past, and helps people look to the future, was evocatively expressed,
‘it helps explain ourselves to ourselves – the story of Anzac is a long way away in some senses but it connects very strongly to today – Anzac Parade and the Australian War Memorial is the focus of something which is esoteric and very hard to grasp... the whole precinct grounds [people] in their search for understanding of what it means to them... in every state there is a great resurgence of interest in these heritage matters and about the national character and I think this that is what this precinct serves – a grounding and a focal point’ (Ian, Focus Group 2)
Asked about its symbolism for Canberra residents, focus group participants suggested that Canberra people feel pride in living in the national capital, as evidenced by their activism if key parts of the design are seen to be threatened or at risk, and that if any of the memorials were damaged there would be great concern.
Canberra people has a sense of pride that it’s here – ‘this is ours, it’s really lovely to have it in our backyard’ – and a sense of ownership. And with a relatively high proportion of the Canberra community connected to Defence, this may add to the recognition of the importance of Anzac Parade. Canberra people like to impress their visitors with the ‘wow’ factor in looking down the axis from each end,
‘The vision splendid does resonate very strongly with the Canberra community’ (Focus Group 2)
But as well, there is the pleasure for those who have served when they see ‘others who have not served in the Defence Services show their respect and gratitude to those who did’ (Pat, Focus Group 1).
Some focus group participants saw Anzac Parade as largely ‘the preserve of people who have served the country in uniform’ compared to the large number of visitors to the Australian War Memorial for whom Anzac Parade is,
‘mainly a view to parliament. The memorials belong to the people who have served and their families... and for many visitors there is ignorance about its significance’ (Pete, Focus Group 2)
‘All who have served in Australian defence forces would be proud to march down there and would feel a sense of national pride – not in any vainglorious way but to say I served my country, I am proud to be an Australian, I am proud just to be here.’ (Peter, Focus Group 1)
Asked who would defend Anzac Parade if it was threatened, participants in the second focus group said that ‘Service people would be in the vanguard’.
Doyle suggests the memorials are part of a larger military history narrative and also one that links to our perceptions and memories of the particular times associated with each conflict,
‘the axis of Anzac Parade inscribes the military narrative connecting the War Memorial to the Parliamentary triangle as symbolic of some aspects of a national image... the various memorials and monuments, even shrines, can be read as paragraphs within that narrative of Australian military history. The variety of memorial, monument and statue along the parade speaks another series of narratives... in the vocabulary of public monumental or 'sacred' special space art. And those narratives are reflective of their own times of construction as much as their designers desire them to be reflective of the times which they commemorate. So the Korean Memorial is clearly aimed at being reflective of the 1950s, but is equally or more clearly a late twentieth century memory of the 1950s.’ (Doyle 2000, p. 9)
Each memorial is equally filled with symbols that require a careful, informed reading. For example, describing the symbols contained in the Vietnam memorial, one participant commented,
‘The memorials while they have an explanatory plaque... it hardly scratches the surface of what the memorial is about... for example the MIA seats... Where are the seats positioned? They are outside the memorial because they are still away.’ (Focus Group 1)
Doyle also suggests a distinctively different symbol that might be read into the space,
‘the fact that the whole of the Anzac Parade is placed within, and seems to grow organically out of, the local urban space means that apart from that large axis of the Australian War Memorial to Parliament there is an almost more important embedding of the memorials and their symbolic values within their typical communities—suburban Australia. Australian service personnel may have fought to establish and maintain the democracy symbolised by the Parliament but the nearby housing is rather more pertinently the very literal thing itself they fought for—home and hearth.’ (Doyle 2000, p. 10)
Anzac Parade as a place for ceremonies, commemorations and gatherings
The individual memorials, set within their own space and enclosed by trees, are designed as engaging, symbolic and ritual spaces – places to enter and connect actively with the place through all ones senses – fragrance, touch, sight and sound. Each offers a designed space for commemoration ceremonies. The activities that these memorials and memorial spaces provide may well be as important as the physical fabric of the memorial itself. The Australian Service Nurses National Memorial, for example,
‘is a memorial that invites you to walk into and through its space. To see and consider the images and to read of the conflicts and the places where Australian nurses have served... The garden, down the ramp from the walls, has a waterfall that separates the area for contemplation from the memorial itself. Recalling that nurses often established gardens where ever they were posted, the garden has been planted with rosemary, the traditional plant for remembrance, and is the only memorial to have a seat integrated into its main design’ (NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022)
At the Korean memorial the colours and metal field of poles evoke the cold and colourless winter landscape strongly remembered by those who served in Korea,
‘Those rods in front of the Korean memorial are so cold and yet that was Korea, bitterly cold for our troops up there.’ (Defence Force veteran Bernie Sullivan AM, NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022)
Doyle writes about Anzac Parade and the memorial spaces themselves as performative spaces, engaging and interacting with the visitor. He suggests that the design of the Korean memorial intentional creates, ‘an environment into and around which the visitor can, indeed is invited to move’ (Doyle 2000, p. 6).
The feelings created by the memorial designs and spaces were commented on in the focus groups,
‘the Navy memorial is wonderful especially when the water is running...’
‘...Greek memorial where you trip over the rocks... but that is significant too…’
‘And how you have to move through the Turkish memorial...’
Anzac Parade as a place where important events and contributions are remembered and memorialised
Anzac Parade is a complex place. It is a parade ground (outside the study area of this plan), a ceremonial space, part of the Land Axis vista. Anzac Parade can be read as,
‘a summary of Australia’s military involvements... connecting the Australian War Memorial to the Parliamentary Buildings of the triangle across the lake... ‘curious’ because it consists of a series of discrete monuments nestled within their own niches along two sides of the Parade... Australian in the quiet reticence of their nestling – there is no strident militarism here’ (Doyle 2000).
The extent of memorialisation that exists in the Australian War Memorial and Anzac Parade has been a subject for some discussion in response to a proposal to place two new memorials on the Rond Terraces, beyond Anzac Parade and in the Land Axis. These discussions enable an examination of the perceived purpose of the existing memorials today.
Some interesting reflections on the importance of Anzac Parade to the associated armed services community are documented in submissions to the Commonwealth Parliamentary Joint Standing Committee on the National Capital and External Territories, through the Lake War Memorials Forum (a group opposed to the then proposed memorials), and in the Canberra Times. For example, Air Marshal David Evans AC DSO AFC, a former Chief of the Air Staff and former Chair of the NCA, offered the following perspective,
‘What has been created here in the National Capital – the Australian War Memorial and ANZAC Parade is a tasteful and revered sanctuary visited by hundreds of thousands each year. They come to learn of the deeds and sacrifices and to pay homage to the men and women who served and indeed to the sacrifices of their families.’ (Lake War Memorials Forum, www.lakewarmemorialsforum.org/23March.html, accessed 2011, archived at https://webarchive.nla.gov.au/tep/157452)
Neil James, Executive Director of the Australia Defence Association, comments on the vista and its symbolism,
‘First, there is the continuing importance of the vista from the new and old parliament houses down Federation Mall across the lake up Anzac Parade to the Australian War Memorial. This is not just a scenic or town planning issue. This vista is important in symbolic, moral, historical and indeed practical terms. It serves as a perpetual reminder to all at Parliament House, and all who visit it, that generations of Australians have had to defend in war the liberties and general way of life that parliament represents. Most of them ordinary Australians, not defence force personnel by profession, serving in our defence force temporarily and only for the duration of such wars.’ (Lake War Memorials forum, ‘Neil James’, www.lakewarmemorialsforum.org/23March.html, accessed 2011, archived at https://webarchive.nla.gov.au/tep/157452)
Turning to Anzac Parade he notes the,
‘two giant handles of a Maori Keti, or basket, on each of the corners with Constitution Avenue. These frame, and begin, the national avenue of war memorials very well and form a triangle with the Australian War Memorial at the other end. They imaginatively commemorate our deep and continuing military and strategic links with New Zealand and the sacrifices made, and probably again made in future, together.’ (Lake War Memorials forum, ‘Neil James, www.lakewarmemorialsforum.org/23March.html, accessed 2011, archived at https://webarchive.nla.gov.au/tep/157452)
For focus group participants, commemoration in Anzac Parade is very much about the individuals who served, rather than about particular conflicts or services. While several memorials, such as the Vietnam and Korea memorials, focus on particular conflicts, in another way the recognition offered by these memorials was designed to counter the lack of recognition felt by service personnel following their return from overseas service. Both examples contain a strong sense of those who served – in the Korean memorial through the life-size figures and in the Vietnam memorial through the wall of words and the images.
‘the memorials give a sense of recognition – and anybody who has made a sacrifice (either by serving overseas or suffering loss of some sort)... comes back not with a need for recognition as an overt thing... but getting recognition makes an enormous difference to the loss they or their mates have made... especially if they have lost mates... they want their mates to get recognition... And second it gives meaning to those losses to have a memorial as a permanent marker... it eases the burden... that’s what these memorials do...’ (Ian, Focus Group 2)
Anzac Parade as a key element in the iconic Land Axis
The Land Axis and vista is already nationally recognised and its values are well described in previous assessments discussed above. In relation to Anzac Parade itself, Ken Taylor, writing in the Canberra Times notes,
‘the national significance of Anzac Parade, overlain with the Anzac legend and Australian history and nationhood, have added another layer of meaning to Griffin’s axis...’ (Taylor 2011, p. 19)
The Director of the Australian War Memorial wrote about the significance of the Land Axis, and in particular Anzac Parade, in a submission to the parliamentary inquiry into the National Memorials Ordnance. Commenting on the realisation of memorials on the Land Axis, he notes that it,
‘represents a symbolically strong sight line that can be read on several levels... on one level it represents the primacy of parliament in a democratic nation... and... represents a powerful reminder when democratically elected representatives of the people are considering the implications of committing young men and women of the Australian Defence Force overseas in the national interest...’ (Gower 2011)
He also notes that there is a risk of distracting from or diminishing this symbolism should new structures be placed on the axis.
Anzac Parade and its memorials as a focus for personal grief and grieving and remembering
Anzac Parade and more particularly the memorials are places for people to remember, to come together and to grieve.
It may be surprising to describe a memorial as a meeting place, but for those with Service connections, Canberra is the preferred place for many reunions. Discussed at the first focus group, participants agreed that a typical reunion would involve people getting together at a local venue to socialise and then they would visit their particular memorial, probably followed by dinner together and then to the Australian War Memorial the next day.
‘The memorials are really meeting places and a focal point’ (Focus Group 1)
Creating a place where particular people or groups can be remembered has become one of the purposes of Anzac Parade. Inglis writes about the creation of Anzac Parade as a ‘sacred way’, with the flanking memorials reminiscent of the sacred way joining ‘Athens to Eleusis, flanked by sculptures commemorating heroes, gods and civic events’ (Inglis 2005, pp. 402-403). As Inglis notes, ‘here were sites looking for monuments’ and he describes how the establishment of virtually every memorial was advocated by those with direct connections to the events, people and organisations to be memorialised.
The importance of memorials in Australia is seen to be connected to the nature of Australia’s experience of war as fought overseas, with the bodies of those who died buried overseas – it was not until 1964 that Australia started the practice of ‘bringing them home’ (a phrase now more closely associated with the Aboriginal ‘stolen generations’). For generations of Australians, war memorials, were the graves.
‘Those war memorials are a collective cemetery for those we lost in the Great War’ (Focus Group 2)
Today there is still a perceived need for memorials, some to ‘complete the picture’ – such as the Boer War Memorial and Peacekeepers Memorial which were realised in 2017. Focus group participants saw that Anzac Parade and the Australian War Memorial should remain the focus for memorialisation of armed conflicts, but recognised that the valued attributes of the place should not be sacrificed for more memorials.
At a personal level, ‘memorials remain sites for mourning victims of war after war’, and ceremonies held at memorials combine both shared grieving and personal loss (Inglis 2005, p. 472). Inglis notes that memorials are significant ‘sites of memory’, with practices such as the laying of wreaths containing personal messages, and the placing of poppies an expression of this (Inglis 2005, p. 472). These practices are common across Australia’s war memorials, and have recently become a practice associated with public expressions of grief for tragic or deeply felt community losses. The outpouring of grief around the deaths of celebrities, and the roadside memorials to lives lost in car accidents are contemporary examples.
Showing the people who served
War memorials, according to Inglis, also often symbolise those who are missing, perhaps buried overseas in a marked or unmarked grave, or simply ‘missing in action’. The figure of a soldier, the most common of all war memorials across Australia, can be seen as ‘an absence, a representative of those dead men whose bodies never returned to their own people’ (Inglis 2005, p. 474). Interestingly, the memorials on Anzac Parade are almost all ‘peopled’. However, not all were originally conceived with the human form as part of the design.
For example, the Air Force Memorial, with its starkly beautiful airfoils designed by sculptor Inge King, was seen as ‘a tribute to the service, rather than to the men and women who have served’ and, following advocacy by the Air Force Association, a plaque to the service personnel was added in 1993. In 2002 a granite backdrop with images of airforce operations and people from World War I to the present was added (NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022). Today the memorial reflects both the grace and power of flight combined with images of those who served.
Ian Crawford, Chair of the Australian National Korean War Memorial played a founding role in the establishment of this memorial. Describing the complex process of achieving the design, he explained that he particularly admired the Desert Mounted Corps Memorial because it ‘told the story’ and was not ‘overly symbolic’ – in his view memorials are designed for the ordinary soldier, sailor or airman who wants to see what they experienced. The design of the Korean war memorial occurred through a design competition, and the selected design had great architectural and sculptural beauty in his eyes, but it ‘didn’t tell the story for ordinary servicemen like me’. The idea of figures within the field of poles was mooted. Asked why the need for figures, he responded ‘because the war was fought by soldiers, sailors and airmen’.
Dedication ceremonies
Each memorial has its own community of people who feel connected to that service, conflict or those they served with, and the dedication services for each seem to evoke strong feelings.
A personal account of the dedication of the Australian Service Nurses National Memorial in 1999 by Pat Johnson (‘Una Voce’, 4 December 1999) described the response of some of the service nurses present as they looked at the glass panels depicting ‘typical’ places where nurses have served, and the feelings of connection these images evoked,
‘Although not of any specifically recognisable place, some of the nurses visiting appeared to recognise several of the scenes depicted. Likewise myself, the tropical scene depicting Pacific areas caused me to remark "I know where that place is", it was a small peaked mountain with a harbour below... For my part, I had to have a photo of that section.’
Later after the dedication, she recalls,
‘We returned to the Nurses Memorial again. Now that we knew something of the conceptual ideas, we wanted to take it all in again slowly and read the inscriptions as well as viewing the Memorial in sunlight. We sat in the contemplative area, casting our eyes down the panels and listening to the soft tinkling of the waterfall. We walked along the front reading the cards on the wreaths. Yes, this Memorial is certainly different and unique. Later that evening we attended a function hosted by the Vietnam Veterans' Association where we were treated to yet another feast of food, drink and stories... We drove back to Sydney (it was still raining) in quiet contemplation of the events of the weekend and marvelled at the spirit of all the thousands of nurses who visited Canberra for this important dedication.’ (Pat Johnson, ‘Una Voce’, 4 December 1999)
Writing about the dedication of the Korean Memorial, Doyle (2000, p. 8) notes the crowd of around 15,000-20,000 and a ceremony ‘focused on the troops and memories’ with a large Korean delegation handing out hand fans and a ‘wonderous’ performance of the Dance of Peace. His analysis exposes the nature of the space created by the memorial as a ‘spectacular space’ where the visitor is required to perform – to come into the space, to move through and engage with the elements, and ‘then to make up some kind of narrative from those elements’,
‘They do not just celebrate known events, they recreate them newly for most of their visitors—their interactants; they refashion the memory for those who need more than memory—for those who need simulated memory, or rather, their memory re-simulated. By definition this is the experience for most of their visitors after the effects of the dedication have passed. Once the Korean veterans themselves have gone for all subsequent visitors the memorial is a space of either older style museum-like experience, to look merely at objects—figures, badges, photographs—or mimed machinery, or to be invited to partially experience a simulacra of the otherwise elsewhere 'sacred site'. These memorials are in this sense interactive, like much modern installation art’ (Doyle 2000, p. 9)
For Ian Crawford (personal communication, 11 October 2011), the dedication service was ‘an opportunity for the Korean war and the veterans to be recognised’ and part of the ceremony was a march down Anzac Parade. It was, in his words, ‘moving’ but did not provide closure for everyone as, ‘some veterans still feel they have not had a welcome home march and the one held in Brisbane years later didn’t have the national focus’, illustrating not only the importance of recognition but also of national events and memorials for those who served for the nation.
He was aware of the importance of the dedication for ‘grieving families’ becoming a ‘focus for their grief’, and is even more important for the families of servicemen missing in action or those buried in the United National War Cemetery in Pusan, Korea. A change to the memorial has seen two Korean plants – a box and a fir tree – used to edge the memorial space, making a direct link to Korea, ‘for the grieving families some of whom may never be able to go to Korea to see the memorial for their loved one’.
The dedication of the Vietnam memorial, and the return of the remains of several men missing in action were intensely moving ceremonies, bringing a sense of pride and ‘of being at one with all those gathered’. Speaking about the tenth anniversary of the dedication, Pete Ryan spoke of the 8,000 Vietnam veterans who showed up, with about 2,000 who had come ‘out of the closet’ for the first time,
‘When you see those people at our memorial you get to understand what people who have lost loved ones... actually see and feel’ (Focus Group 2)
Valuing the memorials of others
Does the armed services community value and feel a connection to memorials associated with other parts of the service, or conflicts of which they were not a part? Pat Johnson offers a delightful insight in her account of the official dedication ceremony of the Australian Service Nurses National Memorial,
‘Just as proceedings were to commence, there was a "vroom" and "roar" of motorcycle engines on the other side of Anzac Parade. We all turned and saw a large contingent of the "Vietnam Bikies" from all over Australia parking their motorbikes on the grass before coming over to watch the proceedings. There they were, in their leather jackets, emblazoned with a skull and slouch hat atop. I could not help but be moved when chatting to a group of them afterwards, one of them said to me "we come every two years to rededicate the Vietnam War Memorial and we decided to coincide the visit with the dedication of the Nurses' Memorial". Continuing, he said “we wanted to be a presence but it is the nurses' day”. I asked this group of somewhat burly men what they thought of the Memorial and the reply astounded me. "It is beautiful, calm and gentle, so different to the other masculine memorials." With that, they all went off to their special memorial.’ (‘Una Voce’, 4 December 1999)
Similarly, the focus group discussions reinforced the value of all of the memorials, while recognising that particular memorials have specific significance to those who are closely connected with what it memorialises.
Anzac Parade as a symbol of a sovereign state
War memorials are a statement about the ‘authorising power of the state’ to dedicate the lives of its citizens to a conflict where it is likely many will be lost (Inglis 2005, p. 471). In Canberra, the notion of the state is profoundly apparent through the placement of the Australian War Memorial and Anzac Parade on the Land Axis with Parliament House at the other end.
For those service community participants, Anzac Parade is seen as conveying the power of the state over its citizens. The placement of the Australian War Memorial at one end of the axis and Parliament House at the other. This was expressed somewhat cynically by some, and more positively by others,
‘That the politicians can go out their front door and be reminded of what they have done...’ (Focus Group 1)
‘Symbol of democracy... the symbol of the price of democracy…’ (Focus Group 2)
‘The symbolism is important – Parliament House at one end and the AWM at the other with a parade – it’s a great avenue – that commemorates what Australians have done in conflicts to preserve our independence and peace – and what Australian governments have done… a good world citizen in stepping forward and dedicating Australians to help – also the Defence forces – the qualities of leadership, resourcefulness and confidence.’ (Ian Crawford, personal communication, 11 October 2011)
Sovereign states have the capacity to enter into relationships with other sovereign states, and this is expressed in Anzac Parade in the Hellenic, Ataturk, New Zealand and Korean memorials. With the first three, the placement of the memorial embodies aspects of the relationship, whereas with the Korean memorial the South Korean Government supports commemorative events there and offers a variety of support to servicemen who served in the Korean War.
The New Zealand Memorial for example, is designed to,
‘honour the strong bonds between Australia and New Zealand, forged first during colonial times, most famously at Gallipoli, and renewed on many occasions since’ (New Zealand Memorial Dedication, 2000)
Symbolically, the ground of the memorial is part of New Zealand because it is ‘tapu’ (sacred) based on the ceremonies undertaken by Maori at the dedication of the memorial, creating for New Zealanders a ‘place to remember your country, not just remember a conflict’ (Hedgley, personal communication, 13 October 2011).
From an Australian perspective, Professor Gammage suggests that the New Zealand Memorial can be seen as ‘symbolically closing the parade of monuments which the War Memorial begins’. He continues,
‘No nations share a bond as close as Anzac has bonded Australia, New Zealand, and Turkey. No memorial should be allowed to stumble onto the ground which commemorates that special bond’ (Gammage, ‘The lakeside memorials and the Walter Burley Griffin vision’, www.lakewarmemorialsforum.org/opinion-docs.html, accessed 2011, archived at https://webarchive.nla.gov.au/tep/157452)
For example, the Hellenic Memorial is a landmark for Greek people, and its position at the top of Anzac Parade is important. The use of the term ‘Hellenic’ rather than Greek in the naming of the memorial refers to the Hellenic peoples – peoples of a like-mind and with shared values – and is deliberately distinct from the concept of the state (Christopolous & Kazan, personal communication, 13 October 2011). The naming also allows it to include all of the battles fought in this theatre, not just those that took place on the Greek mainland (NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022).
The memorial represents the close ties between Australia and Greece that have come from the two countries ‘standing together in battle for the same ideals – democracy and freedom’. These connections go back to World War 1 when Greece gave the British forces full sovereignty over four islands for the period of the war as the base for their Gallipoli campaign – these island were the base, and where hospitals and supplies were located. Again Greece and Australia were allies in World War 2, again in Korea, and most recently in Afghanistan. The Battle of Crete was a key turning point in World War 2. As well, the Embassy of Greece in Canberra, established 45 years ago, in the largest overseas Greek embassy, a mark of the importance of the state-to-state relationship (Christopolous & Kazan, personal communication, 13 October 2011).
Moreover, the memorials represent a symbolic linking of the peoples not just the states or governments. For the Greek community of Canberra for example, the Australian Hellenic Memorial is understood to be a symbol of great pride. They raised the funds for it, and hold wreath laying ceremonies there with significant visitors, as well as participating in Anzac Day, and holding special ceremonies to mark Greek National Day (March 25) and the Battle of Crete (last Sunday in May).
‘The Australian Hellenic Memorial represents the standing, since time immemorial, ideals of the Hellenic civilization. Freedom, human personality, active involvement in society, democracy. Hellenes and Australians have always stood unwaveringly together for the same ideals and have shed their blood side by side to defend and promote them.’ (HE Ambassador Alexios Christopoulos, personal communication)
The Ataturk Memorial was funded by the Australian Government as part of state-to-state negotiations about the naming of Anzac Cove. The Ataturk Memorial is essentially the memorial to the ANZAC forces and Gallipoli, representing both sides. In the NCA podcast, World War 2 veteran William Higgy OAM comments on its broader significance,
‘There is no actual memorial on Anzac Parade called the Anzac Memorial, and perhaps this is the closest’ (NCA 2009, ‘Anzac Parade Walking Tour Podcast’, www.nationalcapital.gov.au/, accessed 2011, not accessible 4 August 2022)
The comforting words of Atatürk, reputedly written in 1934 as a tribute to the ANZACs killed at Gallipoli, are a powerful feature of this memorial,
‘Those heroes that shed their blood and lost their lives... You are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and the Mehmets to us where they lie side by side now here in this country of ours... you, the mothers, who sent their sons from faraway countries wipe away your tears; your sons are now lying in our bosom and are in peace. After having lost their lives on this land. They have become our sons as well.’ (Inscription on Kemal Atatürk Memorial at ANZAC Parade, Canberra, Australian War Memorial www.awm.gov.au/encyclopedia/ataturk.asp, accessed Nov 2011, site inactive 4 August 2022)
It is noted that some research casts doubt on the authorship of these exact words attributed to Ataturk.
What is it about this place?
As a physical place, Anzac Parade is replete with symbols embedded in the design – the colour of the gravel, the use of Australian and New Zealand plants, the niches into which the memorials are set and more. For those with service connections, what is it about this place that embodies its significant meanings?
Asked about the elements that are important, the first focus group highlighted the trees – the Australianness of the eucalypts as an element that connects all Australians. This was reiterated in the second focus group, especially the contrast between the openness of the space (which was valued highly) and the enclosing trees,
‘it’s the Australian bush what the country is made of... so you have the wide open plains of Australia and the bush... you can’t separate those two things’ (Focus Group 2)
And with these trees comes the chorus of cockatoos, often joining in the Anzac Day Dawn Service, occasionally with a Kookaburra. While the memorials are not thought to be important to all Australians, the trees are. Of course to those with service connections, the memorials are significant.
‘All the memorials are equally important – all part of our history and they are inscribed there and should stay... they each support the other’ (Focus Group 2)
‘All memorials are important and each adds to the story – we have named it at a particular spot in time (Anzac) but the story started before that and goes on into the future... it is a concrete telling of the story... every memorial is equally important as part of that story... and you need to see it that way in its entirety... When you come to an individual memorial it is much more personal... extreme significance for families who have lost people... even true for the [yet to be realised] Boer War memorial...’ (Fred, Focus Group 2)
The centre piece – the median with its constancy of colour – is important symbolically – while the scoria offering an ideal material to march on and the planter boxes are a spot to sit while waiting for ‘the action’ to start (Focus Group 1).
The fact that it is a parade – in name, in design and in its use – is vitally important,
‘Its name is important – it is a parade... you can fit a goodly number of servicemen on... they can be all seen at the same time... it’s our national parade ground... gives you a special feeling to march on it... it’s our democratic parade ground... an open vista’ (Fred, Focus Group 2)
Others reinforced the experience of marching on the parade, noting it has a special significance for Korean and Vietnam personnel as part of long-overdue recognition for their service.
The idea of the place as a precinct, with links visually and symbolically, is an important attribute. For some it is hallowed ground.
Changing values and changing communities
Given that the importance of Anzac Parade for the wider community hinges to some extent on the connections to the concept of Anzac and to the largest public ceremonies held in Anzac Parade being Anzac Day (25 April) and Remembrance Day (11 November), the question arises as to whether the cultural connections to these two ceremonies will remain strong as generations pass, and with the increasingly multicultural nature of Australia.
This question was posed in the earlier conservation management plan for the Australian War Memorial, reflecting on ‘has the social significance of this place changed?’,
‘Today's Memorial visitor might be a veteran or the family of a veteran of the Second World War, or of Vietnam, but very many are also migrants or the Australian-born descendants of migrants who came to live in Australia after WWII, and who have no direct personal connection with Australia's involvement in war. They may, however, have experienced war in the armed forces of other nations, or as civilians in countries directly affected by war, and indeed this may be the reason they migrated and become Australians.’ (Pearson & Crockett 1995, pp. 50-52)
Inglis (2005, p. 477) comments that ‘in multicultural Australia, attachment to the cult of Anzac can transcend any common experience of war’, suggesting that these Anzac values can form a powerful point of attachment for newcomers to Australia, giving several examples. These values are not of war, but rather of peace and coexistence. Interestingly the Ataturk Memorial, one of the earlier memorials on Anzac Parade, offers precisely this expression.
Local places and a national place
How does Anzac Parade compare to the many other places that the Australian community or armed services communities use as a focus for remembrance of past armed conflicts, whether on a national, community or personal level?
Pearson & Crockett (1995, p. 51) note that,
‘Increasingly, as access has become easier, the battle fields and graves of Australian involvement overseas are becoming increasingly relevant in the context of social significance.’
Attending Anzac Day ceremonies at Gallipoli has become a part of pilgrimage for many Australians, and likewise trekking the Kokoda Track.
Neil James, Executive Director, Australia Defence Association, comments on the vista and its symbolism,
‘In conclusion, commemoration of the sacrifices made in war to protect contemporary Australia is a public and private duty of Australian citizenship. It is best done by communities in their local war memorials across Australia. Here in Canberra it is best done nationally by generic memorials on Anzac Parade and by the Australian War Memorial's roll-of-honour individually. Finally, the very meaningful Parliament House – Australian War Memorial vista should be preserved and protected from the notion that every war, other operation or campaign, current political fashion or ethnic group needs to be commemorated individually.’ (www.lakewarmemorialsforum.org/docs/23MarNeilJames.html, archived at https://webarchive.nla.gov.au/tep/157452)
Asked about the relative importance of Anzac Parade, with its memorials, compared to local memorials in every town and suburb across Australia, both focus groups talked about the different qualities of each type of ceremony,
‘in all the small towns the speakers and the key people are normally veterans – in Canberra it’s the representative of the political party in power – sometimes PM and sometimes the Governor General – but often it’s a junior minister (laughter)... sending along a junior minister is offensive’ (Focus Group 1)
‘at central coast... what I found was that it was very community centred... everybody came... so many people marching there is no audience... once the formal part was over everyone staying... it was a real community day... people stayed all day’ (Focus Group 1)
‘...Canberra is more symbolic – national government’ (Focus Group 1)
‘times have changed... each city has its own memorial of sorts... the Australian War Memorial is where the idea is cemented and in Anzac Parade’ (Focus Group 2)
‘Anzac Parade brings it home for the whole nation... it is the national capital and we need a national place... for us to commemorate in totality in a central place... this is ours... it is in danger of being whittled away because it doesn’t have the funding... it is part and parcel of maintaining national togetherness... where we bond together... where the national heart is and where the Anzac spirit keeps flowing...’ (Fred, Focus Group 2)
5. Evidence of Other Values
5.1 Expert-Based Values – Aesthetics and Creative Achievement
Landscape character
The landscape of the study area is part of the core of the National Capital.
Its development as a formal setting was driven by the visual corridor created between the Parliamentary Triangle and the Australian War Memorial along the Land Axis. The corridor is a space defined by the visual connectivity of the ground plane treatments together with the symmetrical buildings and trees on each side and the dramatic impact of the terminating elevation of Mount Ainslie at one end and Capital Hill (Mount Kurrajong) at the other.
Anzac Parade had been more physically defined than the Parliamentary Triangle area by the two side roads giving access to the respective suburban edges of Campbell and Reid. Together with the central paved spaces, roads, paths and walls contribute to a hard edge treatment softened only by the grass verges and the flanking tree plantations. Another important quality is the rising ground from Constitution Avenue up towards the Australian War Memorial and Mount Ainslie.
The landscape character is derived from the composition and perceptual experience of different landscape types. The landscape types include the following.
Landform (i) Mounding
(ii) Terracing
(iii) Gentle Slopes
Design (i) Symmetry
(ii) Repetition
(iii) Order
(iv) Colour
Built Form (i) Walls
(ii) Ramp
(iii) Roads
(iv) Structures
(v) Hard pavement
(vi) Memorials
(vii) Flagpoles
Vegetation (i) Grassland
(ii) Mass planting: Trees, shrubs and grasses
Anzac Parade is a product of the 1960s development by the then National Capital Development Commission and remains intact despite the introduction of various memorials regularly spaced along its length. While memorials were originally allowed for in the design, there were not as many, and they were not originally intended to be as expressive and visually obvious – some have been located slightly out of the tree line into the Parade itself.
Visual and spatial structure
The physical definition of the Land Axis corridor has been primarily through a central, built and paved space defined by rows of trees of an essentially uniform height, colour and texture, with the suburbs extending beyond.
The Australian War Memorial complex creates a focal landscape to the northeast with Mount Ainslie clad with indigenous vegetation as a backdrop. To the southwest, the Rond Point wall, Commonwealth Place walls, Old Parliament House and the new Parliament House align as a series of focal landscapes, with Red Hill acting as a backdrop.
The red gravel pavement, irrigated grassland (which provides a dramatic contrast with the gravel), the eucalyptus trees and the flagpoles (outside the study area) serve to unify Anzac Parade with the Australian War Memorial forecourt.
The use of eucalyptus trees also defines the central space of the Land Axis and links visually into the landscape setting on both sides of the lake’s Central Basin, as well as extending to the indigenous vegetation of both Mount Ainslie and Red Hill in the background settings.
The experiential qualities of the place change as one moves from the centreline of the Land Axis with its long vistas either way, to the sides along footpaths broken by outdoor ‘rooms’ with or without memorials, and to within the treed area with relative intimateness and dryland grasses underfoot contrasting with the irrigated lawn areas at the road verges.
The design intention is not to parade along the middle but along the sides so as to encounter the memorials. This leaves the centre comparatively visually free, to strengthen the ceremonial nature of this section of the Land Axis as its most formal and hard expression playing on the colour contrasts of red and green.
The memorials at each end of Anzac Parade tend to spatially weaken the composition, more so at the northeastern end adjacent to the Australian War Memorial forecourt and the Limestone Avenue intersection.
Figure 107. View along the Land Axis from the Australian War Memorial Source: Duncan Marshall
|
Figure 108. View up Anzac Parade from Constitution Avenue towards the Australian War Memorial Source: Amanda Evans
|
Figure 109. View along the eastern side of Anzac Parade with the eucalyptus under planted with native grasses, the pedestrian pathway, irrigated grass, streetlights and road beyond Source: Amanda Evans |
Figure 110. View within the tree plantation with dryland grasses Source: Amanda Evans
|
Figure 111. The choice of Eucalyptus on either side of the Parade reinforces the strong physical and visual connection to the surrounding hills and beyond Source: Amanda Evans
|
5.2 Scientific Value
There is no evidence of scientific value related to Anzac Parade.
None the less, the trees in the Parade contribute to an urban wildlife corridor for migratory bird species (ACT Natural Resource Management Council 2009).
6. Analysis of Evidence
6.1 Introduction to Analysis
This analysis has been prepared by the consultants using the evidence presented in Chapters 3-5 which has been analysed against the National Heritage criteria (reproduced at Appendix D), and judgements have been reached on the basis of the professional expertise of the consultants. National Heritage assessment guidelines (Australian Heritage Council 2009) in particular provide the indicators used in assessing social and aesthetic values.
The analysis is divided into sections related to the criteria.
This analysis generally considers values related to Anzac Parade overall, rather than those individual values which are tied to a specific and small components of the area. For example, the analysis does not consider the individual associations with or values of every memorial along the Parade. However, the values of the collection of memorials are important in the broader context, and are considered.
6.2 Analysis against Criteria
(a) the place has outstanding heritage value to the nation because of the place’s importance in the course, or pattern, of Australia’s natural or cultural history
Anzac Parade has outstanding heritage value because of its role in the development and national life of Canberra as Australia’s national capital.
Anzac Parade is a conspicuous and major part of the Land Axis, and its concept is strongly associated with the Griffins’ vision and plan for Canberra, as a major structural planning element around which the city was conceived and developed.
The realisation of Anzac Parade and other elements of the city has to some extent reflected the Griffins’ design but there have also been departures from it, and subsequent designs The realised design is more than just the surviving elements of the Griffins’ design, and it is rather the work of many hands and the creation of several layers of urban planning and design over 100 years. The work of the NCDC in the 1960s has dramatically re-conceptualised Anzac Parade in response to the changed character of the northern Land Axis through the placement of the Australian War Memorial at the base of the terminal point – Mount Ainslie. The overall result is a layering of designs which have built upon and consciously departed from the Griffins’ original design intent. In historical terms, this complex, evolving design is an important part of the story of the national capital, the Land Axis and Anzac Parade in particular.
Anzac Parade is part of an area, the Parliament House Vista, which is unique within Australia as an ongoing realisation of the establishment of a national place in an attempt to give a strong identity to the core of the national capital.
Anzac Parade is also of outstanding heritage value given its role in national commemorative activities related to war since 1965, contributing to the development of Australian cultural life and national identity. Anzac Day is a particular focus of commemoration. The Australian War Memorial from 1941 is an important precursor to the development and later role of the Parade.
The Australian War Memorial and, to a lesser extent, the other memorials in the Parade have and continue to play a very important role in fostering aspects of national identity. The various wars in which Australia has participated have had a major impact on its people and their history. While there are many other memorials in Australia which commemorate wars and those who died, only the Australian War Memorial serves as a national shrine for all Australians, and the Memorial and Anzac Parade continue to serve as a focus for commemoration.
Collectively, the individual memorials are also the ongoing focus of substantial national commemorative activities.
The commemoration of war has been a major theme in Australia’s national history, and Anzac Parade, while not an early expression of this theme, has become an important national focus.
Summary
Anzac Parade meets this criterion because of its role in the development and national life of Canberra as Australia’s national capital.
(b) the place has outstanding heritage value to the nation because of the place’s possession of uncommon, rare or endangered aspects of Australia’s natural or cultural history
Anzac Parade is rare within Australia as it commemorates the Anzac spirit and the relationship between Australia and New Zealand in the form of a formal symbolic landscape composition.
Anzac Parade may be compared with other commemorative roads with a specific Anzac connection, such as Anzac Parade in Sydney from 1917, the axis along Swanston Street to St Kilda road (part of Robert Hoddle’s Melbourne grid laid out in 1837) and on to the Shrine of Remembrance in Melbourne from 1934, and Anzac Highway in Adelaide. There are also many other commemorative roads in Australia, such as the Remembrance Driveway from Sydney to Canberra instituted in 1954, as well as honour avenues such as that at Ballarat from 1917, and in many other States. These roads often have some landscape quality, especially through tree plantings. In the case of honour avenues, individual trees often commemorate specific individuals.
In addition, there are other types of commemorative places such as Anzac Square in Brisbane from 1930, and the Anzac War Memorial in Sydney from 1934. Anzac Square is also a formal symbolic design.
Anzac Parade in Canberra appears to have a stronger formal symbolic landscape composition compared to the other commemorative roads, although there is a symbolic component to them all. Anzac Parade is embedded into the planning and design of the national capital in both a pragmatic and functional way, as part of Griffin’s Land Axis, but also as a place which expresses visually and physically both the commemorative nature of the place and the strong connections with New Zealand. It expresses a more overt symbolism of the Australian and New Zealand relationship.
Summary
Anzac Parade meets this criterion as a rare form of commemoration of the Anzac spirit and connection between Australia and New Zealand.
(c) the place has outstanding heritage value to the nation because of the place’s potential to yield information that will contribute to an understanding of Australia’s natural or cultural history
There is no evidence of value under this criterion.
(d) the place has outstanding heritage value to the nation because of the place’s importance in demonstrating the principal characteristics of:
(i) a class of Australia’s natural or cultural places; or
(ii) a class of Australia’s natural or cultural environments
Anzac Parade may be considered in the classes of commemorative places or landscapes or vistas, perhaps especially commemorative roads, and parade grounds. As noted under Criterion (b), there are a range of commemorative roads and other places in Australia.
However, these classes of places are not well understood and the principal characteristics have not been defined. A meaningful assessment is therefore not possible.
None the less, as a parade ground Anzac Parade would not obviously appear to be a good example. Commonly parade grounds are large, rectangular, open and level areas with perimeter features. Anzac Parade has perhaps only a few of these qualities.
(e) the place has outstanding heritage value to the nation because of the place’s importance in exhibiting particular aesthetic characteristics valued by a community or cultural group
Applying aesthetic significance indicators to the Anzac Parade data
The following presentation of values and attributes looks at each of the three identified communities separately, while recognising that there is naturally some overlap between these communities. The communities are:
In relation to aesthetic values, the predominant data is on the Canberra community, but the snapshot analysis indicates appreciation of similar qualities by visitors. The Australian and Canberra communities are therefore presented together.
Australian and Canberra communities
The Parliament House Vista heritage management plan suggests that Parliament House Vista is amongst the ‘most highly recognised part of Canberra for Australians’ and this is supported by the ways Canberra is presented to visitors (Marshall and others 2010b, vol. 1, p. 141).
The Vista, or perhaps more accurately the Land Axis views, evokes ‘Canberra’ and ‘national capital’. It is the most commonly used image to represent Canberra and this is evident in artistic representations, snapshots and tourism images.
Two principal icons ‘hold’ each end of the Land Axis – the Australian War Memorial and Parliament House. Anzac Parade is a distinctive and visually strong formal element in this powerful and symbolic landscape, and a key part of the design vision for Canberra.
The visual power of the landscape is strongly evident in the Parliament House Vista heritage management plan assessment, even though this assessment is looking at only one of the possible viewpoints. Anzac Parade is a distinctive element within that sightline, and its form, colour and simplicity appear to be highly valued aesthetic qualities.
Lake Burley Griffin is similarly a key element in the Land Axis, and values studies of the lake have revealed the importance of the view from Parkes Way to the Australian War Memorial and Anzac Parade, at least to Canberrans, though it does not seem too much of a stretch to say that Australians who have visited Canberra would also share these values.
The National Heritage listing for the Australian War Memorial and the Memorial Parade recognises Anzac Parade as a ‘national landmark that is highly valued by the Australian community’ and as making a ‘major contribution to the principal views’ along the Land Axis, recognising ‘the views from Anzac Parade to the Hall of Memory and from the Hall of Memory along the land axis [sic]’ as outstanding.
The earlier ACT Heritage citation (1998) notes the ‘vista down the Parade is among the most recognised images of Canberra’, assessing Anzac Parade to be of aesthetic significance to all Australians.
The investigations undertaken as part of this plan support these contentions. Within this understanding of broader landscape values, Anzac Parade has outstanding aesthetic values as an element of a larger whole. Anzac Parade is an iconic element of the Land Axis, and is itself a highly recognised and recognisable place.
While not the subject of an extensive collection of significant art, Anzac Parade is amongst the most photographed of Canberra places, with the symmetrical strength of the landscape composition and the dramatic contrast of the central red median within the framing eucalypts set against the soft bush backdrop of Mount Ainslie. The most common images look down Anzac Parade from the Australian War Memorial and this view seems to strengthen the symbolic meanings and its emotional power, with the ‘bloodshed’ red of the gravel dominant. Similarly, the vast scale of the Parade and the sweep of history and tradition it reflects are breathtaking. This is truly a powerful urban landscape.
For those who attend commemorative events within Anzac Parade, the contrast between the scale of the landscape and the intimacy and personal connections likely to be felt also indicate the power of this landscape to generate emotional responses. And it is a landscape so redolent with history, events of national importance and personal connections, it has certainly the power to inspire. While this may not be expressed through art, it is evident in snapshots and in the growing number of people from the wider community who participate in major ceremonies.
Armed services community
The existing National Heritage listing for the Australian War Memorial and Memorial Parade does not recognise the armed services community, as defined in this plan, as holding particular aesthetic values in relation to Anzac Parade. The preparation of this plan has enabled consideration of those values, and could be used to enhance the National Heritage citation and to manage for those values.
The symbolism represented in the form and design of Anzac Parade, as well as in the individual memorials, is felt strongly by those from the armed services community. Their responses were both intellectual and emotional.
For example, they spoke of the importance of the central median for its constancy of colour, recognition of the ‘bloodshed’ symbol represented there, and the importance that this element be ever-present and visually represented. They spoke of the visual and symbolic nature of the design with its openness – like the Australian landscape of open plains, as well as the openness of our democracy – and of the contrast and sense of shelter created by the most Australian of all trees – eucalypts.
Conclusions
Based on the evidence presented, it is concluded that Anzac Parade has aesthetic qualities that are valued by both the Australian and Canberra communities. The valued qualities are largely identical and have therefore been presented together. Further, the National Heritage values are considered to provide a good reflection of the aesthetic values identified through the present assessment.
The present study suggests, however, that the symbolic nature of the design of Anzac Parade and the memorials themselves heightens its emotional power, and warrants recognition.
The aesthetic qualities that are particularly appreciated are the:
Based on the evidence presented, it is concluded that Anzac Parade has aesthetic qualities that are also valued by the armed services community. The values identified substantially add to the National Heritage values.
The aesthetic qualities that are particularly appreciated are the same as those noted above.
Summary
Anzac Parade is valued by the Australian and Canberra communities for its aesthetic qualities as an integral and deeply meaningful part of the Land Axis landscape, and is considered to meet the National Heritage threshold by having outstanding heritage value for the nation.
For the armed services community, Anzac Parade is highly valued for the symbolism embodied in its aesthetic qualities and it is considered to meet the National Heritage threshold by having outstanding heritage value for the nation.
(f) the place has outstanding heritage value to the nation because of the place’s importance in demonstrating a high degree of creative or technical achievement at a particular period
The conceptualisation of what became Anzac Parade, as part of the Land Axis, in the idea of Canberra as a city in a landscape is recognised as being a great creative achievement by Walter Burley Griffin. While the function of Griffin’s original Prospect Parkway changed after World War 2, the role of Anzac Parade as a part of the Land Axis remains as one of the major and fundamental components of the planned city.
The outstanding heritage value related to the creative achievement of the Parliament House Vista, which is a core part of the planned city and includes Anzac Parade, is extensively discussed in the heritage management plan for the Vista (Marshall and others 2010b, vol. 1, pp. 141-159). It notes,
‘The study area displays characteristics of the City Beautiful approach to urban planning with its objectives of beauty and monumental grandeur through the use of such features as axes, vistas, wide boulevards (ie. Commonwealth and Kings Avenues, actually outside the area), spacious parks and large graceful public buildings. In addition, there are Garden City influences such as the landscaped, low density development with tree-lined streets, parkways, parks and gardens. While the evolved design of Canberra overall has a combination of City Beautiful and Garden City influences, the City Beautiful influences are more distinct in the Parliament House Vista area than elsewhere in the city…’
Taylor also recognises the contribution of many others to the realisation of the city, in particular Weston. As a general appraisal, he writes,
‘What we now have [in the National Triangle] is a serenely elegant space where the large scale and dignity are valued by many Canberrans and visitors, in contrast to the view that it is a space waiting to be filled with buildings in part to reflect Griffin’s urban piazza imagery. But few could not be other than inspired by the view down the land axis, with its predominant symmetry across the lake to Mount Ainslie: an inspired view where the symbolic formal landscape is in compelling dynamic tension with the bush clad image of Mount Ainslie. It surely ranks in its historic context, meaning and composition as one of the finest views across a city anywhere…’ (Taylor 2006, p. 139)
In addition to the Land Axis, other important and obvious components of the planned city include the National Triangle with its bounding avenues, especially Commonwealth and Kings Avenues which are better realised, the Parliamentary Zone, Water Axis, the lake, the Central Parklands (Commonwealth Park, Rond Terraces and Kings Park), City Hill, the other main avenues and approach routes, as well as the other circles associated with planning nodes.
Anzac Parade demonstrates a formal approach to landscape design which reflects both the structure of the Land Axis and the nature of commemorative places. In a creative sense it integrates these two qualities in a symbolic manner.
The Parade uses formality and a symbolic contrast through plant selection and ultimately the character of the expression of that planting. That is, the eucalyptus formal planting with dryland grass species expresses an informality reflecting a distinctly Australian quality, whilst the use of New Zealand plants constrained by formal planting beds reflects a more serious and committed quality, thereby creating a sense of contrast. Yet both plantings belong within the overall formal composition, and contribute to the Anzac symbolism.
There are many formal, commemorative landscape designs in Australia. Examples are noted under Criterion (b) above – some with an Anzac connection (such as Anzac Square in Brisbane), some relating otherwise to war commemoration (such as honour avenues of trees), all having landscape and symbolic qualities, and most/many having a formal landscape quality to some extent. Cemeteries and churchyards are another large group of places which also often have formal, commemorative landscape components (there are many possible examples, such as the Woden Cemetery (1936) in the ACT).
In these contexts, Anzac Parade is an important component of a plan and landscape of outstanding heritage value, and its current specific form is also outstanding as a highly symbolic and formal landscape.
The creative achievement of the individual memorials has not been assessed as part of this heritage management plan. None the less, the collection of memorials represent a substantial creative achievement, reflecting changing and differing artistic responses over time to a commemorative purpose.
While the expressiveness of most of the memorials is contained within their landscape rooms, the New Zealand Memorial makes an important and distinctive contribution to the Parade. The pair of memorial features act as symbolic and visual terminating features, providing a sense of the southern end of the memorial parade. These appear as the last or first of the memorials which, fittingly, commemorate the New Zealand connection. The form of the memorial is highly symbolic in this role – as two handles of the one basket, which also arc towards each other over the Parade – all to provide an end or start to the memorial section of the Parade.
One other built element deserves specific mention – the street lighting. These lights display a high degree of care and quality in their design, and employ a design and materials well beyond standard street lights. It is not just a matter of the individual lights, but the overall lighting composition has been carefully designed to enhance the visual quality of Anzac Parade. The design of the light bases also embodies subtle military symbolism. The use of such a design reflects the policy of providing high quality design in the National Triangle.
Summary
Anzac Parade meets this criterion as part of the Land Axis and Parliament House Vista, as part of the core of the planned city of Canberra and a landscape of outstanding heritage value. Its current specific form is also outstanding as a highly symbolic and formal landscape.
The collection of memorials represent a substantial creative achievement, reflecting changing and differing artistic responses over time to a commemorative purpose. In addition, the New Zealand Memorial makes an important and distinctive contribution to the Parade as symbolic and visual terminating features, providing a sense of the southern end of the memorial parade.
The street lighting is also an important contributing element to the overall landscape of the Parade.
(g) the place has outstanding heritage value to the nation because of the place’s strong or special association with a particular community or cultural group for social, cultural or spiritual reasons
Applying indicators to the Anzac Parade data
Australians & Canberrans
The Parliament House Vista heritage management plan concluded that this place is strongly valued by the Canberra community as a landmark, a defining element for Canberra (Marshall and others 2010b, vol. 1, p. 176). Anzac Parade is similarly part of Canberra’s distinctive signature.
Further, it is a part of ‘the heart of Canberra, the embodiment of Australian nationhood and democracy, and a place of national memory’. The idea of Anzac Parade as part of the symbolic link between democracy and the price or consequences of democracy was apparent from a variety of sources, suggesting that this designed juxtaposition conveys powerful meanings to the viewer, and is a reference point in how Australians see themselves.
The question of whether this appreciation is changing or strengthening appears to have been answered by several authors (eg. Pearson & Crockett 1995; Inglis 2005) as well as by Australians voting with their feet. As is suggested in the ACT Heritage citation (1998) and reinforced by Inglis (2005), if Anzac Parade holds ‘a spiritual significance for the majority of Australians, especially those who have been affected by war or conflict’ then a growing number will appreciate its meanings, especially those who have come to Australia seeking to escape such conflict. And at a time when Australians have again been involved in small but complex overseas conflicts, the relevance of Anzac Parade may continue to grow.
Unlike many war memorials around Australia, Anzac Parade also offers both a traditional and a contemporary perspective on war and conflict. Some memorials are very traditional, and speak of past times, whereas others such as the New Zealand, Service Nurses and Peacekeeping memorials are strongly contemporary in the interpretation they present.
For Canberra residents there is a sense of pride and belonging evoked by the Vista, and a similar sentiment was revealed through the focus groups for Anzac Parade.
Interestingly, the Parliament House Vista heritage management plan indicated that Canberra residents did not believe that Australians as a whole actively recognise these values, and that the Canberra community holds these values ‘in trust for the nation until such time as they are recognised’ (Marshall and others 2010b, vol. 1, p. 161). Certainly, when changes are proposed on the Land Axis, it appears to be Canberra residents who quickly step forward in the defence of these values, rather than it becoming a national debate. Research for this plan suggests that these values are widely shared amongst Australians, through the reflections offered by the armed services community.
The values represented in Parliament House Vista were concluded to be both physical and symbolic, and to represent ‘a whole range of Australian intangible cultural values – nationhood, history, democracy, commemoration, national memory’ (Marshall and others 2010b, vol. 1, p. 162).
The link between democracy and the ‘price’ or consequences of democracy arose in both focus groups and also in the interviews. This was seen as a powerful counterpoint created through the positioning of the Australian War Memorial and Parliament at opposite ends of the axis, and one that that is widely appreciated in this landscape, as evidenced by visitors to Canberra.
The national perceptions study (Ritchie & Leon-Marillanca 2006) supports this contention, demonstrating the importance of the Land Axis and its two notional end-point buildings for their symbolic embodiment of national values linked to Australia’s Defence force history, democracy and a broader sense of Australian history.
Perhaps this symbolism goes even further and is a symbol of Australia as a sovereign state and our relationship with other sovereign states. The memorials associated with Greece, New Zealand and Turkey are examples, as is the tradition of senior officials from other countries visiting and laying wreaths at the Australian War Memorial, and sometimes at a memorial on Anzac Parade. For both New Zealand and Greece for example, their memorials are a tangible reminder of past and present relationships between nations. The meanings of these memorials and the place as a whole are shared with those representing some foreign countries here, and those who visit. This aspect is worthy of further investigation.
Armed services community
Asked about the importance of Anzac Parade to Australians, focus group participants saw it as of outstanding importance.
Pearson & Crockett note,
‘There is a substantial sector of the community, the veterans organisations in particular, for whom the Memorial is still clearly a personalised symbol of Australia's war experience with which they feel very strongly and directly associated. It is a sacred place dedicated to the memory of those who died in war. The resurgence in public interest reflected in high attendances at Anzac day ceremonies, the opening of the Vietnam Memorial, and the interment of the Unknown Soldier, has been interpreted as pointing to a broadly based respect for, and interest in, Australia's involvement in war. It has been interpreted by some we have interviewed as being part of the ongoing growth of interest in Australian history and nationalism.’ (Pearson & Crockett 1995, p. 51)
These sentiments were strongly reflected in the values arising from focus groups and interviews.
First, and perhaps most importantly, was the expression that these memorials and this place – Anzac Parade – is ‘ours’ – not as exclusive owners but rather because the memorials and Anzac Parade tell both the national Defence service stories but also represent thousands of individual stories. Further, they recognise that people served – ‘they were there’. The narrative represented is therefore both intensely personal and utterly national. This place is where the nation recognises service and sacrifice in war – compared to the many places around Australia where the impact of war on individual communities is remembered.
Those who participated expressed a strong desire to be recognised as the stewards of their memorials and stories.
The memorials and Anzac Parade are for some with armed service associations a place of spiritual connection – sacred and hallowed spaces. In these places, ceremony and ritual are important activities associated with remembrance.
Anzac Parade and the memorials are an important reference point in the sense of identity of the armed services community. This is expressed through parades, ceremonies, wreath laying and other rituals, gatherings and so on. Many of those who contributed to this investigation are actively involved in organising these activities.
Through the processes of gathering, community bonds are reinforced. In the words of one participant there is a feeling of ‘being at one with those gathered’. The memorials are places for reunion with the living as well as remembering the dead.
For some, especially those who do not have a grave to visit, the memorials may be the primary focus for their grief, just as memorials across Australia were for those grieving losses from the Boer War, and First and Second World Wars.
Conclusions
Based on the evidence presented, it is concluded that Anzac Parade has a strong and special association for the Australian and Canberra communities as a landmark with strong symbolic meanings, and as an important reference point in the way Australians see themselves. Further it is a place open to many interpretations, allowing new conceptions of the meaning of war and peace to emerge over time in response to changing community experience. It appears to be valued highly by representatives of other nations as a demonstration of the mutual regard in which each nation holds the other.
The National Heritage social values are considered to provide a good reflection of the values identified through the present assessment. This assessment would suggest however, that the meanings of Anzac Parade are somewhat more complex and open to multiple readings. This enhances its value and suggests it will be retained into the future.
For the armed services community, Anzac Parade and the memorials are places of outstanding importance to them as a symbol of service, respect and recognition. For service and ex-service personnel it is closely connected to their sense of identity. This is encompassed by it being ‘their place’. It is a place in which they want to conduct ceremonies of remembrance and other activities that will reinforce community bonds. For them and for families with service connections, specific memorials are a focus for grief.
Summary
Anzac Parade is valued by the Australian and Canberra communities for its strong and special associations for social, cultural, ceremonial and spiritual reasons and is therefore considered to meet the National Heritage threshold by having outstanding heritage value for the nation.
For the armed services community, Anzac Parade is highly valued for its strong and special associations for social, cultural, ceremonial and spiritual reasons and is therefore considered to meet the National Heritage threshold by having outstanding heritage value for the nation.
(h) the place has outstanding heritage value to the nation because of the place’s special association with the life or works of a person, or group of persons, of importance in Australia’s natural or cultural history
Anzac Parade clearly has outstanding heritage value for the special association with those who served in the armed forces, those who died, and for their families. The discussion under Criterion (g) above is also relevant to this criterion. These associations can relate to particular memorials as well as the whole Parade, as places of national as well as personal commemoration. This group of people is highly important in Australia’s history. Wars and military service have been key defining themes in Australia’s history.
Anzac Parade is also associated with a number of designers, and such associations may meet this criterion. In so far as every designer is associated with the thing he or she designs, it is not considered sufficient to regard this as a special association. There must be an additional quality to the association. The other dimension to the criterion is the importance of the person in Australia’s history.
The following table presents an analysis of a range of designers, drawn from the history and a variety of other sources, with a potential special association with the study area.
Table 5. Analysis of a range of Designers with a potential Special Association with the Study Area
| |||
Designer | Association | Special Association? | Important in Australia’s History?
|
Richard Clough | NCDC architect/landscape architect from 1959, Director of the Landscape Division in 1972-80, coordinated the landscape works and plantings for the north bank of the Central Basin, supervised major design and implementation of works in Commonwealth Park, collaborated on the design of Anzac Parade with Gareth Roberts | Anzac Parade appears to have a special association with Clough as part of his overall work on the north bank of the Central Basin, on Commonwealth Park and Anzac Parade. These were some of his major projects while with the NCDC. In addition, Anzac Parade is the most prominent component.
Other places which may have a special association include Government House grounds extensions, Yarralumla, The Kings School, Parramatta and Macquarie University at Ryde. The latter two being regarded as outstanding designs. (Hambrett 2005) | Possibly, given the long and senior role played regarding the development of Canberra’s landscape, and afterwards as a Professor of Landscape Architecture at the University of NSW. |
Walter Burley Griffin | Original lead designer of Canberra including the study area | The study area has a special association with Griffin, as part of the Land Axis and broader city design, even though the design and form of the Parade are significantly different to that apparently intended and initially realised. The Canberra design is Griffin’s most important work. The study area is a major part of the core of the design for Canberra, and is a key part of the design which has actually been realised, albeit in a modified form. This special association probably extends to the full National Triangle including City Hill, Constitution Avenue and Russell.
Griffin may also have a special association with his house Pholiota at Eaglemont, Melbourne, with Newman College at the University of Melbourne, the Capitol Theatre also in Melbourne, and with Castlecrag in Sydney. (Harrison 1983) | Yes, as the lead designer of the original plan for Canberra as the national capital. Arguably Griffin is of outstanding importance in Australia’s history for this role. |
Marion Mahony Griffin | Original contributing designer of Canberra including the study area | The study area has a special association with Marion Mahony Griffin for reasons similar to those offered regarding Walter Burley Griffin. | Yes, as the contributing designer of the original plan for Canberra as the national capital. |
National Capital Development Commission staff | Responsible for planning, developing and constructing Canberra as the National Capital in the period 1958-89, including the creation of Anzac Parade in its current general form | The staff of the NCDC are closely associated with the extensive range of major developments undertaken in the period. These include: the lake, Y-Plan, four new towns and associated residential areas, Russell Hill Defence Offices, Anzac Parade and memorials, planning for diplomatic missions, National Library of Australia, High Court of Australia, National Gallery of Australia, Questacon (National Science and Technology Centre), and the National Capital Open Space System. (http://www.nationalcapital.gov.au/corporate/history/05_1958-1989.asp, site inactive 4 August 2022)
However, there is no evidence to suggest a special association in this case. The association with one NCDC staff member, Richard Clough, is considered above. | The NCDC staff as a group are important in Australia’s cultural history for their key role in planning, developing and constructing Canberra. Arguably the NCDC period was the second major phase of Canberra’s development. (http://www.nationalcapital.gov.au/corporate/history/05_1958-1989.asp, site inactive 4 August 2022) |
Summary
Based on the analysis above, Anzac Parade meets this criterion for the special associations with:
The Parade may also have a special association with Richard Clough which meets this criterion, though further research is needed to better understand his importance in Australia’s history.
(i) the place has outstanding heritage value to the nation because of the place’s importance as part of indigenous tradition
There is no apparent value under this criterion, based on existing statutory heritage listings.
Summary of values
The following table presents a summary of the National Heritage values for Anzac Parade found on the basis of the analysis above. These findings are subject to confirmation under the Environment Protection and Biodiversity Conservation Act 1999.
Table 6. Summary of Values above the National Heritage Threshold
| |
Criterion | National Heritage value
|
(a) | Yes |
(b) | Yes |
(c) | No |
(d) | No |
(e) | Yes |
(f) | Yes |
(g) | Yes |
(h) | Yes |
(i) | No |
7. Statement of Significance
7.1 Statement of Significance
This section begins with the formal National Heritage values. This is followed by a suggested revised statement of significance for just the Anzac Parade part based on the research undertaken for this plan. It should be noted that the formal National Heritage values are the basis for the policies presented in Chapter 9 below.
References to criteria in the following section relate to the National Heritage criteria (reproduced at Appendix D).
Australian War Memorial and Memorial Parade National Heritage Values
|
Anzac Parade – Suggested Revised Values
Anzac Parade (the National Heritage section between Constitution Avenue and the Australian War Memorial) is of outstanding heritage value because of its importance in Australia’s history, as a rare form of commemoration of the relationship between Australia and New Zealand, for its aesthetic qualities, its creative achievement, social values and special associations. Many of these values are shared with or related to the adjacent Australian War Memorial, and the Parade and Memorial are a single National Heritage place. Anzac Parade also makes a substantial contribution to the Commonwealth Heritage values of the Parliament House Vista area.
Anzac Parade has outstanding heritage value to the nation because of its important role in the development and national life of Canberra as Australia’s national capital. Each and every local and capital city equivalent, whether a memorial, community facility or avenue of trees that is dedicated to the same commemorative purpose, is symbolically linked to the sentiments that find their national expression in Anzac Parade and the Australian War Memorial.
Anzac Parade is of outstanding heritage value given its role in national commemorative activities related to war since 1965, contributing to the development of Australian cultural life and national identity. Anzac Day is a particular focus of commemoration. The Australian War Memorial from 1941 is an important precursor to the development and later role of the Parade.
The Australian War Memorial and, to a lesser extent, the other memorials in the Parade have and continue to play a very important role in fostering aspects of national identity. The various wars in which Australia has participated have had a major impact on its people and their history. While there are many other memorials in Australia which commemorate wars and those who died, only the Australian War Memorial serves as a national shrine for all Australians, and the Memorial and Anzac Parade continue to serve as a focus for commemoration.
Collectively, the individual memorials are also the ongoing focus of substantial national commemorative activities.
The commemoration of war has been a major theme in Australia’s national history, and Anzac Parade, while not an early expression of this theme, has become an important national focus.
Anzac Parade is also a conspicuous and major part of the Land Axis, and its concept is strongly associated with the Griffins’ vision and plan for Canberra, as a major structural planning element around which the city was conceived and developed. While the work of the National Capital Development Commission in the 1960s has dramatically re-conceptualised Anzac Parade in response to the changed character of the northern Land Axis through the placement of the Australian War Memorial, the overall result is a layering of designs. In historical terms, this complex, evolving design is an important part of the story of the national capital, the Land Axis and Anzac Parade in particular.
(Criterion (a))
Anzac Parade is of outstanding heritage value by being rare within Australia in commemorating the Anzac spirit and the relationship between Australia and New Zealand through a formal symbolic landscape composition.
The Parade appears to have a comparatively stronger formal symbolic landscape composition than other such places, and it is also more overt in its symbolism of the Australian and New Zealand link.
(Criterion (b))
Anzac Parade is of outstanding heritage value because its aesthetic qualities are widely recognised across the Australian and Canberra communities, and in the armed services community. It is recognised as a powerful and iconic place, and its purpose and meanings are widely recognised, and add to its power to move people emotionally.
Anzac Parade, as major part of the Land Axis, is part of Canberra’s signature.
Individual memorials offer powerful experiences of place and time, especially for those with a connection to that memorial, but also for visitors who choose to engage more closely.
(Criterion (e))
Anzac Parade is important as part of the Land Axis and Parliament House Vista, as part of the core of the planned city of Canberra, and as a landscape of outstanding heritage value. Its current specific form is also outstanding as a highly symbolic and formal landscape. While the original function of what is now Anzac Parade changed, especially after World War 2, its role as a part of the Land Axis remains as one of the major and fundamental components of the planned city.
Anzac Parade is also outstanding as a highly symbolic and formal landscape. It demonstrates a formal approach to landscape design and symmetry which reflects both the structure of the Land Axis and the nature of commemorative places. In a creative sense it integrates these two qualities in a symbolic manner. The Parade uses formality and a symbolic contrast through plant selection, and ultimately the character of the expression of that planting. The Australian and New Zealand plantings contribute to the Anzac symbolism. The formal design also works to integrate the Australian War Memorial landscape with the Land Axis generally.
The collection of memorials represent a substantial creative achievement, reflecting changing and differing artistic responses over time to a commemorative purpose. In addition, the New Zealand Memorial makes an important and distinctive contribution to the Parade as symbolic and visual terminating features, providing a sense of the southern end of the memorial parade. These appear as the last of the memorials which, fittingly, commemorate the New Zealand connection. The form of the memorial is highly symbolic in this role – as two handles of the one basket, which also arc towards each other over the Parade – all to provide an end to the memorial section of the Parade.
The street lighting is also an important contributing element to the overall landscape of the Parade. It displays a high degree of care and quality in its design and materials, and the overall lighting composition has been carefully designed to enhance the visual quality of Anzac Parade.
(Criterion (f))
Anzac Parade has outstanding heritage value because it symbolises key ideas about being Australian, and is a reference point in how Australians see themselves. For Canberrans, Anzac Parade is part of the highly valued Land Axis and vista, a formal landscape that is a source of pride.
Anzac Parade and specific memorials represent valued past and contemporary relationships between nations.
The memorials in Anzac Parade hold deep meanings for people associated with military service, their families and colleagues.
Anzac Parade symbolises service, sacrifice and armed services traditions, and for some demonstrates how democracy is maintained and at what price.
Anzac Parade symbolically tells the many stories of those who served in Australia’s defence forces overseas – it contributes to their understanding of their own experience, and is a place where people go to remember and reconnect.
Anzac Parade and specific memorials are a focus for grief and grieving.
Individual memorials and the memorials as a whole are highly valued by the armed services community for the recognition they offer to those who served, especially for those whose service lacked recognition and respect at the time.
The space at each memorial and the space of Anzac Parade is highly valued by the armed services community as a place for ceremony, commemoration and ritual, both personal and shared.
(Criterion (g))
Anzac Parade has outstanding heritage value because of special associations with those who served in the armed forces, those who died, and for their families. These associations can relate to particular memorials as well as the whole Parade, as places of national as well as personal commemoration. This group of people is highly important in Australia’s history because wars and military service have been key defining themes in Australia’s history.
The Parade also has a special association with Walter Burley Griffin and Marion Mahony Griffin, as part of the Land Axis and broader city design. The Canberra design is the Griffins’ most important work. The study area is a major part of the core of the design for Canberra, and is a key part of the design which has actually been realised, albeit in a modified form. The Griffins are important figures in Australia’s history for their role in designing the national capital.
(Criterion (h))
7.2 Attributes Related to Significance
The following list of attributes are features that express or embody the heritage values detailed above, and these are useful in ensuring protection for the values.
Table 7. Attributes Related to Significance
| |
Criteria | Attributes
|
Criterion (a) – History |
|
Criterion (b) – Rarity |
|
Criterion (e) – Aesthetic characteristics |
|
Criterion (f) – Technical and creative achievement |
|
Criterion (g) – Social value |
|
Criterion (h) – Significant associations |
|
[1] Duntroon is for the Australian Army. The Royal Australian Naval College is located at Jervis Bay, and the RAAF College was at Point Cook, but is now in several locations including Wagga Wagga, Sale and RAAF Williams.