The Coburg Plan is a paperback book of photographs, essays, stories, a poem, even some comments from Scott’s Instagram feed focused on the architecture of Coburg. Jessie Scott is described at the “principle artist” and it is an affordable, accessible kind of artist’s book.
I have lived in this inner northern suburb for decades, I helped crowdfund the book and was at its launch on Saturday at the Post Office Hotel. At the launch there were speeches, a reading of the poem by Timmah Ball and the kind of gastropub food that the PO Hotel is now well known for. I can remember when the Post Office Hotel had a different reputation; it was further down the pecking order than the Moreland Hotel with its strippers and pokies. It was the kind of place where some guy would come around to your table asking for a cigarette. Now, it has changed.
The Coburg Plan is neither a celebration nor a condemnation of the changes; it is a neutral look at the often anaesthetic nature of suburbia. It is an elegantly designed book with type set in Brunswick Grotesque, an easy to read san-serif font and a near perfect choice of hyper-local typeface donated by its designer, Dennis Grauel.
Kyle Weise’s essay is a good introduction to Scott’s photographs. Weise examines the history of banal suburbia in architecture and in photography; from Robert Venturi Learning from Las Vegas to David Wadleton’s photographs of Melbourne’s milk bars. It is the antithesis of the modernist architectural vision that Robin Boyd writes about in his The Australian Ugliness, but it is a feature of ordinary, banal reality.
Scott records the mundane details of suburbia in her photographs. The old houses and closed corner shops, the empty lots, a ghostsign revealed during demolition, and the construction of new units. There is the street sign dealing with the fact that there are two streets in the suburb with almost the same name Hutchinson Place and Street; Australia street names makes up in repetition what they lack in originality.
It is a Coburg ‘plan’; ‘plan’, not as in an advance arrangement, but as in a representation or artist’s impression.