The Urbanist: Tall Stories 491

Australian War Memorial, Canberra

Date: January 12, 2026
Host: Andrew Tuck
Reporter: Andrew Muller

Overview

This episode of Tall Stories, part of Monocle’s The Urbanist, explores the evolving role and contemporary challenges of war memorials, focusing specifically on the Australian War Memorial in Canberra. Reporter Andrew Muller examines how the memorial’s current massive refit reflects broader social and historical shifts, and considers the fine balance such institutions must strike between commemoration and celebration amid changing narratives of conflict.

Key Discussion Points & Insights

1. The Evolving Role of War Memorials (00:10–00:56)

• Driving Question: How do war memorials adapt to new conflicts and a changing society?
  • Curatorial Challenges: Museums are compelled to reconsider how they present war, not just through the lens of historic battles but in recognition of evolving societal attitudes.
  • Social Influence: Contemporary social changes have a significant influence on curatorial choices, ensuring that memorials remain relevant and responsible in how they educate the public.

2. Historical Context & Founding of the Australian War Memorial (00:56–02:55)

• Australian Military History: Australians participated in imperial British campaigns before even being a nation; their history in war predates federation (1901).
• Creation of the Memorial: With recognition of Australia’s expanding military legacy, the memorial was established in Canberra following the move of Parliament in 1927—opening in 1941, even as wars and conflicts multiplied.
• Personal Connection: Andrew Muller recounts frequent childhood visits, rooted partly in his family's military background, evoking both nostalgia and a sense of Canberra’s quieter cultural landscape at the time.

3. The Ongoing Refit: Challenges and Opportunities (02:55–03:53)

• Major Renovation: The memorial is undergoing a significant refit, with many exhibits, including the iconic Lancaster bomber “G for George,” temporarily off-site.
• Visitor Experience: While this results in a less spectacular visit for now, Muller notes the memorial still excels as a model example of how a war museum should present itself.

4. Architectural and Interpretive Excellence (03:53–04:30)

• Building Overview:
  • “It’s not just that the war memorial is a beautiful building... an Art Deco cathedral looking down Anzac Parade across Lake Burley Griffin to the old Parliament House.” (Andrew Muller, 03:56)
• Role in Commemoration: The memorial stands as a lesson in commemoration rather than celebration, providing thoughtful reflection on the realities of conflict.

5. Avoiding Jingoism – A Tradition Since the Beginning (04:31–05:10)

• Early Dioramas: From its inception, the museum’s WWI dioramas eschewed nationalism—depicting war as “a grim but occasionally necessary task rather than any noble or glorious adventure.”
• Contemporary Adjustments: Recent exhibits acknowledge both the best and worst of war:
  • Example: The kit of Corporal Ben Roberts-Smith is displayed with added commentary about legal controversies, reflecting a nuanced and up-to-date approach to complex legacies.

6. Honest Representation of History (Throughout 04:40–05:10)

• Vietnam War Section: Includes both heroic feats and anti-war protests, showing the spectrum of public sentiment.
• Recognizing Heroism: Sober acknowledgement of acts of solidarity and ingenuity (e.g., Australian POWs in WWII, cavalry at Beersheba in 1917), but always within the context of war’s hardship.

7. Memorializing Leaders versus Glorification (05:10–05:28)

• General Sir John Monash Statue:
  • Statue portrays Monash in a civilian suit (not uniform), decorated with medals—signifying respect for his achievements and his known opposition to the romanticizing of war.
  • “Monash, whose loathing of war was commensurate with his aptitude for it, would have approved.” (Andrew Muller, 05:27)

Notable Quotes & Memorable Moments

• On the memorial’s founding:
  “By the time it was open to the public in 1941, there was obvious cause to wonder if it was going to be big enough.” (Andrew Muller, 01:55)

• On avoiding glorification:
  “It is a demonstration of how to commemorate rather than celebrate.” (Andrew Muller, 03:54)

• On war as reflected in dioramas:
  “They depict war as a grim but occasionally necessary task rather than any noble or glorious adventure.” (Andrew Muller, 04:36)

• On handling controversial legacies:
  “An updated commentary next to the kit worn in Afghanistan by Australia’s most decorated soldier of the modern era ... notes the recent legal actions which have left him damned as a war criminal.” (Andrew Muller, 04:45)

• On General Monash’s statue:
  “They have dressed him in a suit, not a uniform. Monash, whose loathing of war was commensurate with his aptitude for it, would have approved.” (Andrew Muller, 05:26)

Timestamps for Key Segments

• 00:10–00:56: Framing the challenge for war memorials in a changing world
• 00:56–02:55: History of Australian military involvement and memorial establishment
• 02:55–03:53: Refit overview and current visitor impressions
• 03:53–04:30: Architectural excellence and Anzac Parade connection
• 04:31–05:10: Avoidance of jingoism and contemporary curatorial updates
• 05:10–05:28: General Monash statue and the broader significance

Tone & Closing Thought

The episode maintains a respectful, thoughtful tone throughout, blending personal reflection with historical insight. The story underscores the importance of sober, honest remembrance in public monuments—affirming that top-tier museums present war as it is: something to “be endured, not enjoyed.”

For city lovers, planners, and anyone interested in the evolution of historical memory, this episode of Tall Stories offers both a heartfelt narrative and a learned critique of one of Australia’s most important civic sites.