A century ago, on 7 November 1924, Victoria’s first large moving picture palace opened its doors with a spectacular launch. The years ensuing would see the opulent theatre draw thousands of spectators for silent film screenings. Throughout these years, the single-screen theatre has endured a volatile history, marked by threats of demolition, changes in ownership and periods of closure. Despite these challenges, the century-old theatre continues to stand as a significant landmark in Melbourne’s cultural and architectural landscape.
The Capitol House, which comprises a tower and the Capitol Theatre, was designed by renowned architects Marion Mahoney Griffin and Walter Burley Griffin. The concept was highly progressive for its time as it accommodated mixed uses through the inclusion of a theatre and shops at ground level, along with a ten-storey office and residential tower above.
The Capitol Theatre is regarded as one of the Griffins’ most impressive interior architecture projects, with the expressive auditorium ceiling the pièce de résistance. Designed with intricate crystalline geometry made from horsehair plaster, this elaborate ceiling conceals coloured lights that synchronise with orchestral and visual elements, introduced to create a richer sensory experience during the silent film screening era. The ceiling once had the capability to open, allowing cigarette smoke to filter out of the theatre, but this feature ceased operation in the 1960s.
A radical departure from the typical architectural styles of the era, the ceiling has often been described as being emblematic of the Chicago-Gothic style, while others suggest it may have been inspired by sacred Indian architecture, influenced by the Griffins’ trips to India.
The upper foyers – including the former salon and smoking lounges – remain today as exceptional aspects of the building. Decorative columns and translucent square ceiling panels feature prominently within this space.
The ground-floor foyer was yet another grand feature; however, it was removed in the 1970s due to the operational costs of the theatre outweighing revenue.
The sacrifice of the lavish foyer was an unfortunate trade-off to prevent an even worse outcome: the complete demolition of the theatre, a proposition tabled by political leaders in 1964. The proposed razing ignited public outrage, as well as one of Melbourne’s earliest conservation campaigns, spearheaded by the Institute of Architects, the National Trust and esteemed architect Robin Boyd. The campaign led to a compromise – the theatre auditorium and upper foyers would be saved, but the grand foyer and theatre stalls would be converted into an arcade.
The removal of original stall seating decreased the theatre’s capacity from 2,137 to 574.
The theatre has seen various ownerships over the years, but is currently owned by RMIT University. The institution acquired the theatre in April 1999 to accommodate large student lectures and conferences that it was previously unable to host. Outside of class hours, the venue was available for public event hire.
In 2014, the ninety-year-old structure had deteriorated and aged to the point where it was considered unfit for use, and was closed until 2017 when RMIT University appointed Six Degrees Architects to undertake the restoration and refurbishment of the theatre.
A significant concern was accessibility, as the lift on the arcade level only reached the first floor, leaving levels two to four inaccessible except via stairs. Furthermore, the theatre was almost invisible from the street due to the foyer being removed, which created a sense of the theatre being buried within the building instead of having a prominent street presence.
The project’s progress was entirely contingent on whether a lift could be inserted, as contemporary building codes necessitated universal access. Although Peter Malatt, co-director of Six Degrees, once remarked that locating an appropriate spot for the lift in the theatre was akin to “threading the eye of a needle,” the firm ultimately discovered a viable solution. This involved carving out concrete slabs — an especially challenging task within the building’s heritage fabric — to establish a hanging shaft, as the lift could not be anchored to the ground- and first-floor slabs due to their inability to withstand the load of the lift.
The refurbishment saw the installation of hundreds of LED bulbs in the auditorium’s sparkling ceiling, which previously featured only four coloured globes in red, yellow, blue and green. This enhancement has allowed for an almost infinite number of colour combinations and customisations. Additionally, the auditorium seats were replaced, the stage was extended and electrical cables were discreetly hidden behind decorative elements on the stage.
Elsewhere in the theatre, a small piece of original carpet was discovered and sent to India for reproduction. Once recreated, the carpet was laid throughout the building as a sentimental reminder of the theatre’s former condition.
RMIT University Professor and associate deputy vice-chancellor of engagement in the College of Design and Social Context Martyn Hook elaborated that the 18-month refurbishment was quite extensive, as various sections of the building possess differing levels of heritage status.
The key achievements of the 2019 update is that the theatre now visually connects with the street, facilitated by appropriate glazing and illuminated signage on the first floor. Furthermore, internal accessibility has been improved, allowing ingress to all.
Currently, the university is fundraising for the repair and return of the original Wurlitzer organ, allowing the cinema to once again screen films with synchronised ceiling lights and organ music. Hook noted that to have the organ and ceiling once again play together in harmony will be a “globally unique experience.”
Source: Architecture - architectureau
