Joel McGuinness, the CEO and creative director of the Geelong Arts Centre, embarked on a mission to transform the institution beyond its outdated building and embrace inclusivity. He aimed to challenge the traditional concept of black box theatres that isolate audiences and redefine the relationship between art and viewers. McGuinness believes that as the baby boomer generation diminishes, institutions must adapt to survive.
To address the issue of “threshold anxiety,” where cultural institutions fail to attract new and nervous patrons, the Geelong Arts Centre underwent a complete redevelopment. The old building, constructed in 1981, had become insufficient for the community’s needs. Thus, the government invested $140 million in a new building designed by ARM Architecture, renowned for their work on various arts institutions across Australia.
The result is a highly flexible and innovative building. The exterior features a concrete curtain that can be drawn back to reveal a massive glass atrium. Inside, the Open House is a 250-seat venue that connects to the street and foyers, breaking away from the rigidity of traditional theaters. The larger 550-seat Story House can be configured in different ways, accommodating traditional seating, traverse or round styles. It can even transform into a flat-floor live music venue, accommodating an additional 300 people.
Indigenous artist Gerard Black played a vital role in the Geelong Arts Centre’s design and impact. Working alongside three other Indigenous artists, Black co-designed the interior spaces. His centerpiece is a routed timber and acrylic eel, representing his native culture’s resilience and beauty. Black believes this collaboration with a corporate entity is a stepping stone towards Indigenous appreciation and recognition.
McGuinness explains that the goal was to seamlessly integrate Indigenous culture into the building’s very fabric. The ground floor represents the earth’s ochre, while the first floor reflects the local Moonah forests. The Story House, with its stunning depiction of Yoowak, the night, pays homage to sky country and the eagle deity Bunjil. These Indigenous elements are not merely decorative but deeply significant to the building’s ethos.
Apart from its cultural significance, the Geelong Arts Centre is visually striking and Instagram-worthy. From a deep red bar leading into a white box reminiscent of Kubrick’s “2001: A Space Odyssey” to an opulent multicolored marble staircase and a vibrant blue tunnel connecting to a neighboring building, the center offers a mix of surprises and delights.
When asked about the intentional “Instagrammability” of the spaces, McGuinness openly admits that they designed the building with social media in mind. Their aim was to provide multiple reasons for people to visit and share their experiences.
Despite some aspects, like neon hand signs and brightly colored chandeliers in the cafe, bordering on kitsch and not aligning with the profound spirituality of the Indigenous art, the building is expected to become an integral part of Geelong’s fabric. Black believes that Aboriginal culture is prevalent throughout the city, and this new building aims to share that connection to spirit and land with everyone.
The Geelong Arts Centre’s development is the culmination of years of dedication, passion, and community collaboration, according to Victoria’s creative industries minister, Steve Dimopoulos. McGuinness is excited to open the doors and witness the ways in which artists will utilize and be inspired by the new cultural facility.
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