Remove from your active Pick list Save for later

Hoyts Mid-City, 179-187 Little Bourke Street, 194-200 Bourke Street, Melbourne

Butler, Graeme1985

Record details

Title:

Creator:

Butler, Graeme (Name details)

Date of work:

1985

Reference number:

BIF-CITY 101204 1

Level of description:

Item from Collection: Heritage Collection (HC)

Type of materials:

Graphic materialsTextual material

Part of:

Series: Central City (BIF-CITY)

Access restrictions:

UnrestrictedOpen access.

Use restrictions:

UnrestrictedPlease contact City of Melbourne Libraries about obtaining permission to reproduce images.

General notes:

Notable features: curved shop glazing and custom built cubicle (plastic & form) at rear Little Bourke St parking entry. Innovatory stylistically for large commercial work..ASSOCIATED RESEARCH ADDED BY GRAEME BUTLER:.GRAEME BUTLER 1985 MELBOURNE CENTRAL ACTIVITIES DISTRICT CONSERVATION STUDYStatement of SignificanceHistoryHoyts Pictures formed in 1909, commencing screenings at St. George's Hall, Bourke Street, (later on, Hoyts De Luxe), and gradually building up their empire of cinemas. Initially an Australian company, their success at creating exhibiting venues attracted Hollywood's interest and a controlling share acquired by 20th Century Fox meant that a cartel was formed between film exhibitor and maker. This was in return for the then Hoyts Managing Director, F.W. Thring, (who had sold his holdings to Fox), obtaining a guarantee that his Effte film productions would screen in Hoyts' Cinemas. Meanwhile, the company built up a sub urban chain of over 40 outlets during the period 1920-40, which remained active until the first drive-ins (1953) and the advent of television, in 1956. Contraction of hardtop cinema audiences caused a rationalisation of large outlets. The original Capitol (2200 seats) was built in the 1960s, the Regent (3200 seats) and Plaza closed in 1969-70 and the Paris (former Lyceum) c1970.Mid city was not a Hoyts' project. Architect, Gordon Banfield, and the Company, Ralton Holdings, developed two cinemas (932, 250 seats), a shopping arcade and a car park to the design of Bogle and Banfield and as constructed by E.A. Watts, Pty. Ltd., Hoyts was approached as potential lessees and opened there with a crown of 5000 in November, 1970; the Hoyts Cinema Centre had already opened the year before, almost completing the Company's rationalisation of their City Cinemas. Expectations that a third cinema would be incorporated in the complex were realised in December, 1975, when part of the once vast foyer space was taken up for an `intimate' 220 seat venue. Bogle and Banfield and Dolphin were the architects and builders, respectively.In the years following the opening, Hoyts closed the Esquire. Another phase of the theatre's development was superficial renovations, designed by Melbourne architect, Ronald Fitch, in 1979, while the retail arcade, which had never been prosperous, was refurbished in 1977-8.DescriptionIn the tradition of new cinemas, Mid-city struck a more adventurous note than contemporary city commercial buildings. Bogle and Banfield's core of designers and project architects (later as the firms PINK and Joyce & Nankervill) had already shown an innovatory approach to design in the Japanese Brutalist Total Car park building, Russell Street, and the striking St. Vincent's Private Hospital, Victoria Parade. Seemingly freed from the needs of fenestration or natural light, Mid-city was similarly sculptural, and used the then modish exposed off-form concrete finish. An early use of the now ubiquitous trowelled-on aggregate finish, Mid-city used a strident red oxide, instead of the more monotonous buff-coloured layers poured over scores of investment buildings, and flourished a rich burst of colour over two street frontages. Where needed, windows were recessed behind concrete louvres which formed textural relief between the bold concrete forms, at the top and bottom of each elevation, in a similar manner to Seidler or Yuncken Freeman's all-louvre commercial facades of years before. Unusually smart for a car park entrance, the Little Bourke Street elevation displayed huge sheets of curved butt-glazing and, as a focal point, the space-age yellow bubble cashier's office guarded car park entry and exit.Fashionable fittings and materials like Pirelli rubber were used here and in the arcade beyond. Inside there was the spacious lobby areas where the seemingly floating roof plane hovered with lights dotted like stars. At the Bourke Street end of the lobby, for a brief period, there was an unusual group of interlocked mushroom coloured cylinders which served as offices (now demolished) while the theatres themselves, almost a disappointment, were austerely, if comfortably, finished.Comparison can be made with other contemporary Brutalist off-form designs, such as Princes Hill High School (1972), the Amalgamated Metal Workers & Shipwrights Union (1973), the Plumbers & Gasfitters Employees Union (1971 and the similarly formed Y.W.C.A., Elizabeth Street (1975). Although more decorative than functional in its use of bold geometric forms, Mid-city was an early (if not the earliest) large scale commercial design to utilise the now familiar splayed and chamfered forms.External IntegritySigns and details added or altered an exterior and interior.StreetscapeOf a similar scale to adjoining buildings and neutral in a fenestration sense, the rich colouring and bold forms are a marked contrast.SignificanceA successful blend of traditional romantic cinema design with Modern functionalist requirements in an early use of Brutalist large scale commercial architecture in the State. Both this and Cinema Centre are stylistically distinctive designs which are outstanding among the small number of new cinemas built since World War Two.REFORMATTEDWhat is significant?Hoyts Pictures formed in 1909, commenced screenings at St. George's Hall, Bourke Street, (later on, Hoyts De Luxe), and gradually built up their empire of Cinemas. Initially an Australian Company, their success at creating exhibiting venues attracted Hollywood's interest and a controlling share acquired by 20th Century Fox meant that a cartel was formed between film exhibitor and maker. This was in return for the then Hoyts Managing Director, F.W. Thring, (who had sold his holdings to Fox), obtaining a guarantee that his Effte film productions would screen in Hoyts' Cinemas.Meanwhile, the company built up a suburban chain of over 40 outlets during the period 1920-40, which remained active until the first drive-ins (1953) and the advent of television, in 1956. Contraction of hardtop cinema audiences caused a rationalisation of large outlets. The original Capitol (2200 seats) was rebuilt in the 1960s, the Regent (3200 seats) and Plaza closed in 1969-70 and also the Paris (former Lyceum) c1970.Mid-City was not a Hoyts' project. Architect and entrepreneur, Gordon Banfield, and the Company, Ralton Holdings, developed two cinemas (932, 250 seats), a shopping arcade and a car park (entered from Little Bourke St) to the 1969 design of Bogle and Banfield, as constructed by E.A. Watts, Pty. Ltd.. The Hoyts company was approached as potential lessees and after fitting out the interior, opened there with a crowd of 5000 in November, 1970; the Hoyts Cinema Centre had already opened the year before, almost completing the Company's rationalisation of their City Cinemas from old venues to new.Expectations that a third cinema would be incorporated in the complex were realised in December, 1975, when part of the once vast upper level foyer space was taken up for an `intimate' 220 seat venue. Bogle and Banfield and Dolphin were the architects and builders, respectively. In the years following the opening, Hoyts closed the Esquire.Another phase of the Theatre's development was superficial renovations, designed by Melbourne architect, Ronald Fitch, in 1979, while the retail arcade, which had never been prosperous, was refurbished in 1977-8.In the tradition of new cinemas, Mid-City struck a more adventurous note than contemporary city commercial buildings, freed from the needs of fenestration or natural light. Bogle and Banfield's core of designers and project architects (later as the firms PINK and Joyce & Nankervill) had already shown an innovatory approach to design in the Japanese Brutalist Total Car park building, Russell Street, and the striking St. Vincent's Private Hospital, Victoria Parade. Bogle & Banfield had won prizes for their Sandown Racecourse Grandstand (1962) and they designed the former City of Doncaster Municipal Offices 1970.Mid-City was sculptural and used the then modish exposed off-form concrete finish. An early use of the now ubiquitous trowelled-on aggregate finish, Mid-City used a strident red oxide applied front and back (Little Bourke St) instead of the more monotonous buff-coloured layers poured over scores of investment buildings, and flourished a rich burst of colour in contrast to the natural concrete of the side walls. Where needed, windows were recessed behind concrete louvres at the top and bottom of each elevation, which formed textural relief from the boldly chamfered concrete forms in a similar manner to the all-louvre precast commercial facades of years before by Seidler or Yuncken Freeman in the State Offices. The Bourke Street awning was supported on two deep beam pairs, accentuating the muscular design.Unusually smart for a car park entrance, the Little Bourke Street elevation displayed huge streets of curved butt-glazing and, as a focal point, the space-age yellow bubble Cashier's Office guarded car park entry and exit (now gone) which had also been used at the Total Car park. Fashionable fittings and materials like Pirelli rubber were used here and in the arcade beyond (now gone).Inside there were the spacious lobby areas where the seemingly floating roof plane hovered with lights dotted like stars, since built-in. At the Bourke Street end of the lobby, for a brief period, there was an unusual group of interlocked mushroom coloured cylinders which served as offices, (now demolished), while the Theatres themselves, almost a disappointment, were austerely, if comfortably, finished.Mid-City compared with contemporary Brutalist off-form designs, such as Princes Hill High School (1972), the Amalgamated Metal Workers & Shipwrights Union (1973), the Plumbers & Gasfitters Employees Union (1971 and the similarly formed Y.W.C.A., Elizabeth Street (1975). Although more decorative than functional in its use of bold geometric forms, Mid-City was an early (if not the earliest) large scale commercial design to utilise the now familiar splayed and chamfered forms. Signs have been added and details altered on the exterior and interior.Of a similar scale to adjoining buildings and neutral in a fenestration sense, the rich colouring and bold forms of Mid-City are a marked contrast within the commercial streetscape. Mid-City cinema has been identified as significant in three heritage reviews of the Capital City Zone over a 20 year period.How is it significant?Hoyts Mid-City Cinemas is significant historically and aesthetically to the Melbourne Capital City ZoneWhy is it significant?Hoyts Mid-City Cinemas is significant as a successful blend of traditional romantic cinema design with modern functionalist requirements in an early use of Brutalist large scale commercial architecture in the State. Both this and Cinema Centre are stylistically distinctive designs which are outstanding among the small number of new cinemas built since World War Two.Historically, the occupation of Mid-City (and the Cinema Centre) marked a turning point for Hoyts to more modern and intimate cinemas, from the huge picture theatres of pre World War Two. The Bourke Street location of the cinema followed over one hundred and twenty years of tradition of theatre placement in Melbourne..CONTEXT (WITH GJM HERITAGE) 2020, HODDLE GRID HERITAGE REVIEWWhat is significant?Hoyts Mid City Cinemas at 194-200 Bourke Street, Melbourne, built 1969-70 and designed by Bogle &Banfield architects.Elements that contribute to the significance of the place include (but are not limited to):• The building’s original external form, materials and detailing; and• The building’s high level of integrity to its original design.Later alterations made to the street and first floor levels are not significant.How it is significant?Hoyts Mid City Cinemas at 194-200 Bourke Street is of historical, representative and aestheticsignificance to the City of Melbourne.Why it is significant?Hoyts Mid City Cinema is historically significant as part of the increase in leisure and tourism provided inMelbourne, as the city became a place of entertainment made possible by higher disposable incomesand more leisure time from the 1960s. The establishment of Mid City and the Cinema Centre marked aturning point to more modern and intimate cinemas, following the closure of the large picture theatres ofthe interwar period. The Bourke Street location of the cinema followed over 120 years of the traditionalsiting of theatres in Melbourne. (Criterion A)Hoyts Mid-City Cinemas is a representative example of a small class of brutalist buildings in the City ofMelbourne. Popularised by architects in the mid-1960s, brutalism as a movement persisted until the late1980s. Architects Bogle & Banfield Associates provided two of the best examples of brutalism inMelbourne with Total House and the Mid City Cinemas. With Peter Muller’s Hoyts Cinema Centre as anearly and particularly large-scale example, these three buildings provide an excellent record of thismovement. Both the Mid City and the Hoyts Cinema Centre are stylistically distinctive designs amongthe small number of new cinemas built in the postwar period. (Criterion D)Hoyts Mid-City Cinemas is significant for its sculptural form that is highlighted by the red-oxide colourthat contrasts with the off-form concrete of the side walls. As a building requiring little natural light, thebrutalist architecture of the cinema complex relies primarily on an articulation of solid form. The slimconcrete vertical louvres in front of the glazing are a contrast to the solid mass of the main part of thebuilding. (Criterion E)Primary source Hoddle Grid Heritage Review (Context & GJM Heritage, 2020).FURTHER REFERENCESGRAEME BUTLER 1985 MELBOURNE CENTRAL ACTIVITIES DISTRICT CONSERVATION STUDYBuilding Identification Form (BIF):Notable features include unpainted cement, intact shop front, (post supported) shop verandah. Modish chamfered forms of period (Brutalist) & off form concrete (see Gunn's Metalworkers Union) seldom used in large conservative commercial ventures. Interior recommended for inspection ( altered parts).Other comments: A= Bogle & Banfield, 2 cinemas; general amalgamation of signs etc. evident and changed details in non-sympathetic mode..MCC i-Heritage: Central Activities District Conservation Study - Graeme Butler, 1984 Building Identification Form (BIF): for 179-187 Little Bourke St `curved shop glazing, custom built cubicle (plastic in form) innovatory stylistically for large commercial work'.CITY OF MELBOURNE BUILDING PERMIT APPLICATIONS18/7/1969 40693 New Building $1,309,00014/4/1975 45610 est $120,000 `A Cinema' (194-200)26/2/1976 46540 $6000 alterations to ground floor (200)Peter Wallace, 1986, Hoyts Corporation P/L letter to Graeme Butler: Opening 26/11/1970 (see `The Age' 27/11/1970: 2) 5000 attend opening.National Trust of Australia (Vic)File Number B6566 File only.Hoddle Grid Heritage Review (Context & GJM Heritage, 2020SITE HISTORYHoyts Pictures formed in 1909, commenced screenings at St. George's Hall, Bourke Street, (later,Hoyts De Luxe), and gradually built up their empire of cinemas. Initially an Australian company, theirsuccess at creating exhibiting venues attracted Hollywood's interest and 20th Century Fox’sacquisition of a controlling share meant that a cartel was formed between film exhibitor and maker.Meanwhile, the company built up a suburban chain of over 40 outlets during the period 1920-40,which remained active until the first drive-ins in 1953 and the advent of television, in 1956. Asubsequent reduction of hardtop cinema audiences caused a rationalisation of large single-screencinemas. The original Capitol (2200 seats) was rebuilt in the 1960s, the Regent (3200 seats) andPlaza and Paris (former Lyceum) closed in 1969-70.Mid City was not a Hoyts' project. Architect and entrepreneur, Gordon Banfield, and the company,Ralton Holdings, developed two cinemas (932 and 250 seats), a shopping arcade and a car park(entered from Little Bourke St) to the 1969 design of Bogle & Banfield, as constructed by E A WattsPty Ltd. The Hoyts company was approached as potential lessees and after fitting out the interior,opened with a crowd of 5000 in November 1970. The Hoyts Cinema Centre had already opened theyear before, almost completing the company's rationalisation of their City Cinemas from old venues tonew. Expectations that a third cinema would be incorporated in the Mid City complex were realised inDecember 1975, when part of the once vast upper level foyer space was taken up for an `intimate'220 seat venue. Bogle & Banfield and Dolphin were the architects and builders.Another phase of the Theatre's development was superficial renovations, designed by Melbournearchitect, Ronald Fitch, in 1979, while the retail arcade, which had never been prosperous, wasrefurbished in 1977-8.See re 1. Mid City Cinemas, constructed 1969-70, photo date unknown. (Source: National Trust)Bogle & Banfield Associates, architectsBogle & Banfield Associates was a partnership formed between Gordon Douglas Banfield (1922-2007) and Alan Bogle (1902-1976). Bogle was articled to Louis Williams of North and Williams andlater worked with Irwin and Stephenson. In 1945, he joined the influential practice of Harry Norris.Banfield worked in Queensland before also joining Norris’ office in 1954, entering partnership withBanfield in 1959. The practice flourished until Bogle’s retirement in 1968 after which Banfield becamea large player in property in the city of Melbourne. The work of the practice was characterised by boldand confident buildings including the use of Brutalism (Goad and Willis eds. 2012:95).In the tradition of new cinemas, Mid City struck a more adventurous note than contemporary citycommercial buildings, freed from the needs of fenestration or natural light. Bogle and Banfield's coreof designers and project architects (later as the firms PINK and Joyce & Nankevill) had already shownan innovative approach to design in the Japanese Brutalist Total Car park building, Russell Street,and the striking St. Vincent's Private Hospital, Victoria Parade. Bogle & Banfield had won prizes fortheir Sandown Racecourse Grandstand (1962) and they also designed the former City of DoncasterMunicipal Offices in 1970..`Venue' web site, 2020(http://caarp.flinders.edu.au/venue/424/view)`Hoyts Mid-City was the second major complex built by Hoyts in Melbourne. It opened in 1970 the year after the Hoyts Cinema Centre, Melbourne just up the road. These two complexes were built to replace the large single screen cinemas that Hoyts were operating in the CBD: Regent, Plaza, Esquire, Paris, Athenaeum and earlier, the Capitol.It opened as a twin and the theatres were allocated the numbers 4 & 5. This was the continuation of Hoyts Cinemas One, Two and Three that were located at the Hoyts Cinema Centre, Melbourne one block up the street. Tora, Tora, Tora was the opening attraction.Film Weekly (1971) records a seating capacity of 750 and 932.In 1976 Hoyts took part of the foyer and turned it into the third screen naming it cinema 6, cinema 4 was renamed cinema 7. Capacity 932, 750, 221. A few years later Cinema Centre added a forth screen .Hoyts closed the site in 1991.ReferencesCinema & Theatre Historical Society 1997, Cinema index : Melbourne cinemas, suburban cinemas, Victorian drive-ins. CATHS, Victoria.Kilderry, D: http://www.drive-insdownunder.com.au/projectionbooths/midcitybox.htmWalters, T 2009, The Picture Palaces of Melbourne, p. 235 '

Names:

City of Melbourne

Topics:

Central Activities District Conservation Study 1985Conservation studiesTheatres and cinemas

Places:

Melbourne (Vic.)

Form/Genre:

Building Identification Forms (BIFs)

Record types:

Research and reports

Record number:

1189435