Towards a Creative Victoria: design it and they will come.

Transcription

1 Towards a Creative Victoria: design it and they will come. a response to Let s get creative about Victoria s future: Developing Victoria s first Creative Industries Strategy Submission by the Australian Institute of Architects (Vic). July 2015

2 Submission By Australian Institute of Architects ABN Represented by its Victorian Chapter Level 1 / 41 Exhibition St Melbourne Vic 3000 Telephone: Facsimile: alison.cleary@architecture.com.au Purpose This submission is made by the Victorian Chapter of the Australian Institute of Architects (the Institute) to Creative Victoria in response to an invitation to comment on the Let s Get Creative About Victoria s Future discussion paper. At the time of the submission the office bearers of the Victorian Chapter are: Peter Malatt (President), Jon Clements (Immediate Past-President), Amy Muir, Clare Cousins, Stuart Harrison, Shelley Roberts, Anne Lau, Kim Irons, Rowan Opat, Time Leslie and Robert Goodliffe. The Chapter Manager of the Victorian Chapter is Alison Cleary. This paper was prepared by Joshua Morrin, registered Victorian architect and Chapter Manager of the Northern Territory Chapter of the Institute, and Alison Cleary for the Victorian Chapter Council. Thanks must also go to those staff and members who contributed ideas and post it notes to the response. Information The Australian Institute of Architects, incorporated in 1929, is one of the 96 member associations of the International Union of Architects (UIA) and is represented on the International Practice Commission. The Institute is an independent voluntary subscription-based professional member organization with approximately 12,000 members who are bound by a Code of Conduct and Disciplinary Procedures. The Instituteís Victorian Chapter has approx. 3,000 members. 2

3 Introductory comments This submission has been prepared on behalf of the Australian Institute of Architects (Victorian Chapter), in response to the discussion paper Let s get creative about Victoria s future: Developing Victoria s first Creative Industries Strategy, released for public comment by the Government of Victoria, June 1 Let s get creative about Victoria s future: Developing Victoria s first Creative Industries Strategy (Government of Victoria, 2015; We understand the purpose of this discussion paper 1 as being to solicit contributions from a broad audience. strategy.creative.vic.gov.au) ISBN Hereafter referred to as Let s get creative. This is a significant, bold and timely proposal, which is both insightful and welcome. We do believe, however, as the Australian Institute of Architects, that architects, and the particular qualities of architecture, are underrepresented. The purpose of this submission is therefore to articulate the general but particular role that architects have both held and continue to hold as contributors to a Creative Victoria. From a profession-specific point of view, representing architects within the state of Victoria, we respectfully submit that architecture might be viewed as an independent creative discipline, alongside others identified within the paper. (ever expanding field) THE CREATIVE AND CULTURAL INDUSTRIES ARE DIVERSE Museums Environmental heritage Libraries & archives Literature & print media Performing arts Design A Broadcasting,electronic or digital media or film Music composition & publishing Architecture Visual arts & crafts Fashion Cultural goods, manufacturing & sales Supporting activities (ever expanding field) 3

4 It is certain that when we read excerpts such as: The creative and cultural industries are a broad but interconnected field, spanning arts, culture, screen and design ; 2 and... central to our identity, to the liveability of our communities, to our social cohesion, and to our communities. They inform the way we think, the way we express ourselves, the way we work and the way we play. They are an essential part of what sets Victoria apart from other places, and have a role to play across virtually every area of society - from education and health, to justice, science, innovation, business and 2 Let s get creative, p.5 3 Let s get creative, p.6 community development ; 3... these resonate, because we both understand and believe that these are very much everyday working concerns for (Victorian) architects, and fundamentally implicit to the nature of architecture. Our response is structured in the form of a brief survey of the landscape of the creative economy, its relationship to architects, and of architects to the creative economy, viewed particularly through the lens of what has previously been identified as Design City Melbourne. 4 We conclude by identifying a number of potential opportunities and/or avenues of investigation that might contribute to the growth of a Creative Victoria. 4 van Schaik, Leon; with photography by John Gollings; Design City Melbourne (Wiley-Academy, 2006). A title which in itself should be considered proof of life for the contribution of Architecture to cultural and creative economy of the state of Victoria. 1. On Creativity: the difficulty of definitions We suspect that there might be difficulties posed in casting creatives under the category of industries, 5 particularly for those in recognised specialist creative and cultural occupations. We query whether the definition as such might limit the contribution that creative thought can bring. This is not mere semantics. We submit that it is in the nature of creatives to subvert, contest, resist or otherwise defy definition or categorisation, and that if operating successfully, should in fact be always expanding the definition - otherwise they would effectively not be creating. The terms of reference matter, particularly if the maximum benefits of a creative economy are to be realised. 5 where industry is defined as economic activity concerned with the processing of raw materials and processing of goods in factories; the plural form is slightly more generic but maintains the relationship to processing. To this end we suggest, at the outset, that there are benefits in undertaking not just a whole-of-state, but a whole-of-government approach to the opportunities raised by what has been proposed as a creative approach. There is evidence within the discussion paper 6 to suggest that there is an understanding of this, which we wish to commend and support. If however the discussion were reframed in terms of a both/and, rather than a purely sectoral approach (viz. a vibrant creative and cultural sector, p.4), we contend that this would be the best means of realising some of the outcomes identified within the paper. A Creative Industries Strategy should sit in harmony with a Creative Victoria Strategy. 6 for example, The concept of a creative and cultural economy encompasses three employment types: specialist creative and cultural occupations [...]; creative jobs in non-creative industries [...]; and non-creative roles in creative and cultural industries [...]. This broad view of the creative and cultural economy acknowledges the importance of creativity across all sectors of the economy. (Let s get creative, p. 5) 4

5 2. The Creative Economy argument and the Built Environment 7 for example: The Rise of the Creative Class (2002); and The Flight of the Creative Class (2007) We note from Richard Florida s writings 7 that central to what has been described as the Creative Age is 8 Richard Florida, The Flight of the Creative Class: The New Global Competition for Talent, New York: HarperCollins, 2007, p.3 the new global competition for talent, a phenomenon that promises to radically reshape the world in the coming decades [...] today, the terms of competition revolve around a central axis: a nation s ability to mobilize, attract and retain human creative talent. Every key dimension of international economic leadership, from manufacturing excellence to scientific and technological advancement, will depend on this ability. 8 Moreover, we also recognise his position that 9 Florida, The Flight of the Creative Class, p cities and regions are a country s cubicles of competitiveness in the creative age. Leading scholars concur that urbanisation economies are the decisive drivers of economic growth, more important even than technology and innovation [...] cities are the key economic and social organising units of the creative age. [...] Urban centres are therefore a vital element of the infrastructure of creativity and competitiveness Florida, The Flight of the Creative Class, p.180 Understanding this to be descriptive of a prevailing economic paradigm, in which regions, and more particularly, cities are becoming recognised as economic engines, we contend that architects are significant contributors to the capacity and success of a creative economy. If, as Florida goes on to suggest, the talent has come to expect a certain working environment and lifestyle, too, 10 then surely it follows that the quality of the built environment is a fundamental partner in the growth of creative capital. Such quality, we hope it is understood, requires design; and architects have long been not only active agents, but key proponents for the qualities of good design for the places in which we live, work and play. 3. The Built Environment and Architects - Melbourne In the case of Melbourne, we believe architects are able to claim a particularly unique and longstanding relationship. 11 Dietmar Steiner; Sasha Pirker; Katharina Ritter; Architekturzentrum Wien (Ed.), Grössere Gegner gesucht: Kulturbauten im Spannungsfeld von Politik, Medien, Architektur / Stronger opponents wanted: cultural buildings caught between politics, media, architecture, Basel: Birkhauser, 2001, pp As monuments which express essential and fundamental cultural-historical information about the contexts in which they are procured and constructed, architecture gives form to the set of ideas and values which a society holds dear. 11 But the reverse is also true. Architecture is influential to a society s identity, and therefore economy. We assert that this is particularly the case for Melbourne, now internationally recognised as a design city. Presumably this reputation is a fundamental underpinning of any future ambitions Victoria has towards a creative economy and, whilst undoubtedly 5

6 the result of many things, is surely substantially contributed to by its unique architectural culture. One of the traits distinctive to Melbourne is a robust and longstanding architectural culture, which exhibits, amongst other things, a commitment to critical discourse as a form of broader cultural contribution - an ongoing contribution to the public good. Within this trajectory there are some particularly remarkable individual contributions, each of them giants along the civic spine. Robin Boyd, whose Australian Ugliness challenged a generation of Australian city-makers and prevailing cultural norms; Edmond & Corrigan and the idea of a City of Hope; Leon van Schaik, both at RMIT and in his many publications, the most immediately relevant to this argument being Design City Melbourne; Ashton Raggatt McDougall, whose awarded projects literally pepper the civic spine; and Corbett Lyon, part in practice, part via the Lyon Foundation, part by bringing art and architecture together via the National Gallery of Victoria. These names are but a few. Each of them architects, they have, courtesy of their understanding of their craft as a form of cultural agency, ploughed and prepared the fields of the creative terrain proposed within the terms of the discussion paper. 12 They have, of course, done this alongside many others - architects or otherwise - but their legacy, past, present, and ongoing, is significant in having contributed to the Melbourne that we see today, the Melbourne that is the sponsor of such a creative and vibrant culture. This unique architectural culture is central to a creative strategy for Victoria. 12 Refer ten themes identified within the Discussion Paper, p.4 4. The value proposition of Architecture as a creative discipline The discussion paper identifies three measures of value for the cultural and creative sector, cultural, economic, and social. We assert that these three are equally synonymous with the discipline of architecture. _ Cultural Value World-renowned architect Daniel Libeskind, in a recent editorial for CNN, describes Architecture as the biggest unwritten document of history Accessed 17 July In Victoria, we have previously promoted the fact that Architecture epitomises the development of our culture like no other art form. It demonstrates our technological advancement and innovation, as well as our cultural ambition. While most other art forms (such as watching a play, reading a book or visiting an exhibition) are optional experiences, chosen by the individual, architecture is part of the public realm. Buildings are ubiquitous. They are inherently part of our lives, and symbols of our time. They are also cultural artefacts and repositories of knowledge. 6

7 Transverse axes of Melbourne. Image credits (l-r / t-b): (1) gehttpimageimage.jpg_genderivativesoriginal_620williambarak-building.jpg; (2) Joel del Castillo; (3) Shannon McGrath; (4) John Gollings At a purely surface level, this has specific resonance in economic terms in the form of tourism, but we know - as demonstrated by the continued success of, for instance, Open House Melbourne - that our built culture means much more to us than that. It helps us understand who and what we are, and in this case, part of what it means to be Victorian. This is specific and farreaching cultural value - from the Shrine of Remembrance at one end of the Swanston St axis, to the sombre and longing impression of Barak looking down at the other; then from the steps of Parliament House to the fluid roof-form of Southern Cross Railway Station on the transverse Bourke St axis - we feel that we can legitimately claim that Victoria s architectural heritage is one of the fundamental bases of its current success as a creative capital. There are good reasons here for civic pride, but part of Architecture s purpose is the support and growth of a wider culture. Architecture s great strength as a generalist discipline, with particular acuity in the synthesis of knowledge and skills, positions architecture as a public good, that adds value. 7

8 _ Economic Value (innovation, liveability & talent attraction) Architecture must also be seen as an economic good that defies the law of diminishing marginal utility - a good, that is, which unlike others, keeps producing effective returns over time. From this point of view, good architecture could be construed in at least two ways: as a gift that keeps giving by lasting so long and continually providing access to other goods, or as a goal that keeps receding: the more we experience it, the greater are our expectations of it, thus creating a cycle that induces connoisseurship. 14 McIntyre Drive Social Housing, by McGauran Giannini Soon (photo: Trevor Mein); The Commons, by Breathe Architecture (photo: Andrew Wuttke) 14 Michael Benedikt, The Ghost of Gresham: Economics, architecture and the progressive loss of designed value, in Tombesi, Paolo; Gardiner, Blair; and Mussen, Tony, Take 5: Looking Ahead: Defining the Terms of a Sustainable Architectural Profession, Manuka: The Royal Australian Institute of Architects, 2007, p.303 This sentiment is, of course, related to the idea of cultural value, but in economic terms we are in a fortunate position indeed in Victoria that there are numerous examples that physically reflect this sentiment - not least in the campuses of the two centrally located universities of RMIT and the University of Melbourne. These educational institutions, and their respective architectural schools (not to mention their counterparts at Monash and Deakin universities), are home to a burgeoning number of international students, as well as attractors of talented international staff. Here we feel that Architects can claim a particular value, for it is the nature of the campuses themselves as well as the quality of their respective architectural educational programs - innovation has, for example, long been a feature of the program as well as the procurement strategy for RMIT 15 - that contribute in the immediate short term to the local economy, but also in the long term, as they return to their countries of origin as ready advocates for a Creative Victoria. 15 see, for example, van Schaik, Leon; London, Geoffrey, with George, Beth: Procuring Innovative Architecture (Routledge, 2010) There is a lot more to the city than these two institutions, however, not least the many residential buildings and supporting infrastructure that support our population, creative or not. We return to the point by Florida referenced above, that talent attraction and retention relates to the qualities of a place. Here we would suggest that the critical partner of economic growth is the design of our housing and multiple-housing stock. Innovative approaches by architects continue to demonstrate value by increasing the quality, liveability and affordability of housing - see, for example, McIntyre Drive Social Housing, by McGauran Giannini Soon, and The Commons, by Breathe Architecture. 8

9 _ Social Value We take it for granted that Melbourne is synonymous with a laneway culture, which has opened up avenues for a different demographic to main street to express themselves and contribute in a creative manner to the identity of the city. This is a clear avenue of social inclusion. There are many parties that have been involved in this successful transformation, but it was architects like Jan Gehl and Six Degrees who recognised the opportunity and helped give it form. Recent developments in the design of spaces for health - the Royal Children s Hospital, and the soon to be completed Victorian Comprehensive Cancer Clinic, for example - both evidence local approaches to the researchsupported argument that spatial design is able to improve rehabilitation rates. The design of these important public institutions, with their attendant inclusion of public art, is providing improved quality of life for all Victorians. It is one thing to understand that public gathering spaces are important for social cohesion, but another to understand the nuances that make a successful one - just as LAB have contributed in the design of Federation Square. Royal Children s Hospital, by Billard Leece Partnership (photo: Shannon McGrath); Meyers Place, by Six Degrees (photo: John Gollings); Federation Square Atrium, by LAB 9

10 5. Towards a Creative Victoria To ensure creativity ripples through the rest of the economy and across society, 16 we propose that creativity, and in particular design, be viewed not solely as a pursuit but as a philosophy, which works across and between disciplines, for the shaping, strengthening and sustainability of both the economy and society. Architects engage with and achieve this in the form of buildings, but it is the intellectual basis of design, as a synthetic activity, that makes it possible, and this is a basis that cuts across multiple disciplines. Design is identifying a need you didn t know you had, and devising a solution for the need before you even noticed you needed it. This is the value proposition of the design professions in the context of government. 16 Let s get creative, p.4 In the same spirit of innovation and collaboration called for in the paper, we submit the following list of ideas as lying along the path towards a Creative Victoria. a) Recognise architecture s implicit relationship and importance to a Creative Victoria; b) Harness the energy of this unique culture, in terms of export of professional services, tourism, and education; c) Develop policies for design as an educational basis - not as a subset, but as an overarching philosophy in education, from prep to university, and beyond, to encourage and stimulate creative thinking across sectors; d) Promote Melbourne as a global attractor for design talent, via the Australian Institute of Architects (and others) membership platforms and partnerships; e) More design for more places - improve design quality in our public places and spaces; f) Implement stronger design standards, particularly in the residential design market, as a means of improving amenity, reducing energy usage, and promoting a sustainable environment; g) limit urban sprawl, and implement appropriate measures to increase physical and population density; 10

11 17 referenced by Florida in The Flight of the Creative Class, p.44 h) curate innovation as a means of promoting free and open markets for design services; i) Regulate intern practices, and prohibit unpaid internships as a means of encouraging broader participation in the explicitly creative sector; j) Monitor work practices of businesses within the creative sector, recognising that long hours and low wages do not support either a healthy work-life balance or continued creativity; k) Encourage, facilitate and promote diversity - both in terms of gender, cultural background, and philosophy - as a means of curating a rich cultural mix; l) Increase access to government, particular in terms of communication and engagement; m) No to Squelchers; ( Squelchers is a term coined by revered urbanist Jane Jacobs in reference to the group of people in political, business and civic positions who divert and derail human creative energy by posing roadblocks, acting as gatekeepers, and saying no to new ideas, regardless of their merit 17 ); n) Investigate tax measures and/or financial incentives to encourage and support entrepreneurial activity; o) Moderate the cost of living, to ensure openings within the market for emerging creative professionals; p) Promote an increasingly diversified economy; q) Maintain the dirt, and the grit, that permits such innovative and creative cultures to grow. In the quest for liveability, don t permit the over-gentrification of the city; r) Start at the beginning. Recognise that Australia as most of us see it is only the most recent chapter of a very long history; s) Implement an Office for Innovation, or similar, that works across government and advises accordingly. Design it right and they will come.

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13 Appendix: A Post-it field of possibilities 13

14 What can we do to embed creativity in our everyday lives? 14

15 What can we do to ensure that the next generation will be both consumers of, and practitioners in, the creative industries? 15

16 What can we do to increase the contribution of the creative and cultural industries to the economy? 16

17 In what areas of business is creativity under-utilised? 17

18 What can we do to enhance and expand the role of creative and cultural industries in addressing social issues and challenges? 18

19 How will we grow the creative and cultural industries? How do we increase the economic contribution of creative and cultural industries? 19

20 What is the role of government (facilitator, advocate, funder, investor, regulator, other)? 20

21 How do we diversify investment and support for creative and cultural industries? 21

22 What should we do to expand the impact of the creative and cultural sector into the broader economy and across a wider range of social fields? 22

23 What is Victoria s role in the national conversation about culture? 23

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