Document ID: chunk:federal_register_of_legislation:F2024L00408:front:0:p316
Version: federal_register_of_legislation:F2024L00408
Segment Type: other
Provision Reference: 
Character Range: 959743–962693

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