Document ID: chunk:federal_register_of_legislation:F2024L00408:front:0:p284
Version: federal_register_of_legislation:F2024L00408
Segment Type: other
Provision Reference: 
Character Range: 875573–878618

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