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Heide Sculpture Park Discovering Art in Outdoor Spaces
HEIDE EDUCATION Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 HEIDE EDUCATION Sculptures in the Park Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials: _________________________ 488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985 Current location: Connie Kimberley Sculpture Park At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. -
House at 4 Cobby Street, Campbell
Register of Significant Twentieth Century Architecture RSTCA No: R103 Name of Place: House at 4 Cobby Street Campbell Address/Location: 4 Cobby Street, CAMPBELL ACT Block 5 Section 40 of Listing Status: Other Heritage Listings: Date of Listing: Level of Significance: Citation Revision No: Category: Citation Revision Date: Style: Date of Design: Designer: Construction Period: Client/Owner/Lessee: Date of Additions: Builder: Statement of Significance The residence at 4 Cobby Street, Campbell, is an example of significant architecture and an educational resource. The house is a good example of the Post-War International Style. The design incorporated some of the principal design features which are peculiar to the style including cubiform overall shape and large sheets of glass. The residence also displays elements of the Post-War Melbourne Regional Style including widely projecting eaves and long unbroken roof line. The architecture of this building may contribute to the education of designers in their understanding of post-war architectural styles. Sir Otto Frankel was recognised internationally as Australia's pre-eminent Geneticist and was a member of the executive of the CSIRO. A significant part of his work after his retirement, which was considered to be his most productive time, was undertaken in the residence. The design of this as his own residence highlights the significance of this house for its association with him. Description The three bedroom residence was designed by Roy Grounds, with Theo Bischoff as the project architect, in 1969-70 for Sir Otto and Lady Frankel and construction was completed in 1970-71 1. The building is a late example of a combination of two styles: the Post-War Melbourne Regional Style (1940-60) with its widely projecting eaves (at the rear only) and long, unbroken roof line and; the Post War International Style (1940-60) with its cubiform overall shape and large sheets of glass 2. -
Cross-Section
UNIVERSITY OF MELBOURNE DEPARTMENT OF ARCHITECTURE CROSS-SECTION Issue No. 205 December 1, 1969 complex will give us a second chance. Let us hope it is not wasted on talking solely about function. Archi- tects: Bates, Smart & McCutcheon with Skidmore, Owings and Merrill. Builders: E. A. Watts Pty. Ltd. Engineers: Bates, Smart & McCutcheon. Cost: $20,000,000. ¶ Commonwealth architects a-plenty are expected to enter a competition to design a new U.K. parliamentary building sited near the Palace of Westminster, London. The competition is being conducted by the Ministry of Public Building and Works in association with the R.I.B.A. The Australian representative on the panel of assessors is Robin Boyd. The 2-stage competition and its draft conditions have been discussed by the panel for release by the end of '69. Ala -INN"10 lUtlU{U10 +y. ülifllf6lt{ifl( NI IH UUOtllkir, ■ 6. Photo: Adrian Crothers The 26-storey A.M.P. Tower and its adjacent 6-storey St. James building, Melbourne, is now being occupied. Unwittingly or not, the complex introduces delicious mannerist effects that altogether distract one from the simple aesthetic of the clean and the efficient. From William Street the Tower appears to be a monolithic peg that has been driven too far into the ground. The massive piers and the near eye level plinth of the tower facade combine to give this instantaneous thrill. The infamous facade of the St. James building has moved architecture into the territory of op-art sensa- tion. From some angles it creates a bewilderment that can generate nausea. -
Survey of Post-War Built Heritage in Victoria: Stage One
Survey of Post-War Built Heritage in Victoria: Stage One Volume 1: Contextual Overview, Methodology, Lists & Appendices Prepared for Heritage Victoria October 2008 This report has been undertaken in accordance with the principles of the Burra Charter adopted by ICOMOS Australia This document has been completed by David Wixted, Suzanne Zahra and Simon Reeves © heritage ALLIANCE 2008 Contents 1.0 Introduction................................................................................................................................. 5 1.1 Context ......................................................................................................................................... 5 1.2 Project Brief .................................................................................................................................. 5 1.3 Acknowledgements....................................................................................................................... 6 2.0 Contextual Overview .................................................................................................................. 7 3.0 Places of Potential State Significance .................................................................................... 35 3.1 Identification Methodology .......................................................................................................... 35 3.2 Verification of Places .................................................................................................................. 36 3.3 Application -
CITY of BOROONDARA Review of B-Graded Buildings in Kew, Camberwell and Hawthorn
CITY OF BOROONDARA Review of B-graded buildings in Kew, Camberwell and Hawthorn Prepared for City of Boroondara January 2007 Revised June 2007 VOLUME 4 BUILDINGS NOT RECOMMENDED FOR THE HERITAGE OVERLAY TABLE OF CONTENTS VOLUME 1 Main Report VOLUME 2 Individual Building Data Sheets – Kew VOLUME 3 Individual Building Data Sheets – Camberwell and Hawthorn VOLUME 4 Individual Building Data Sheets for buildings not recommended for the Heritage Overlay LOVELL CHEN 1 Introduction to the Data Sheets The following data sheets have been designed to incorporate relevant factual information relating to the history and physical fabric of each place, as well as to give reasons for the recommendation that they not be included in the Schedule to the Heritage Overlay in the Boroondara Planning Scheme. The following table contains explanatory notes on the various sections of the data sheets. Section on data sheet Explanatory Note Name Original and later names have been included where known. In the event no name is known, the word House appears on the data sheet Reference No. For administrative use by Council. Building type Usually Residence, unless otherwise stated. Address Address as advised by Council and checked on site. Survey Date Date when site visited. Noted here if access was requested but not provided. Grading Grading following review (C or Ungraded). In general, a C grading reflects a local level of significance albeit a comparatively low level when compared with other examples. In some cases, such buildings may not have been extensively altered, but have been assessed at a lower level of local significance. In other cases, buildings recommended to be downgraded to C may have undergone alterations or additions since the earlier heritage studies. -
Robin Boyd's the Australian Ugliness, Ugliness
RMIT DESIGN ARCHIVES JOURNAL | VOL 9 Nº 2 | | VOL JOURNAL RMIT DESIGN ARCHIVES 9 Nº 2 RMIT DESIGN ARCHIVES JOURNAL VOL 9 Nº 2 | 2019 ROBIN BOYD REDUX ROBIN BOYD REDUX BOYD ROBIN RDA_Journal_21_9.2_Cover.indd 1 27/11/19 4:58 pm Robin Boyd’s The Australian Ugliness, ugliness, peer reviewed and liberal education essay John Macarthur Robin Boyd’s graphic style in The Australian Ugliness owes much to the British journal The Architectural Review (ar) and in particular to Osbert Lancaster and Gordon Cullen in their critical and frequently humorous depictions of the vernacular built environment and the fancies of popular taste.1 On this basis it is reasonable to assume that Boyd’s account of ugliness also has sources in the ar’s discussion of architecture and ugliness, which Boyd references. But this is not the case; or, rather, there is an ambiguity here. Boyd writes with a quite patrician distain for popular but Australian featurism is particularly repulsive because it misunderstandings and ignorance of architecture, and this is cheerful, hygienic and taken to signify modernity when it is at odds with a certain condescending fondness for the is its exact opposite. The idiom of Australian featurism plays Opposite foolishness of bad building that we see in his drawings, out in a sequence of attractive novelty of form, materials Robin Boyd, which are closer to the AR. Boyd’s ambivalent ugliness and ornaments, each making their own plea for attention, The Australian Ugliness, (Melbourne: F.W. shares with the AR a strategy of deploying ugliness to ask one after the other, feature columns, supporting feature Cheshire, 1960), what role architectural expertise ought to have in a liberal porches, with plasticised silky-oak front door alongside RMIT Design Archives, society where all have a right to express their taste. -
Featurism and the Fish Bowl: Robin Boyd's
Philip Goad: University of Melbourne Featurism and the Fish Bowl: Robin Boyd’s ‘Drive-in’ Design for 1969 In 1960, Melbourne architect and critic Robin Boyd (1919-1971) coined the term ‘Featurism’ in his book, The Australian Ugliness. It was a term directed at an emerging tendency in the late 1950s towards what Boyd described as ‘cloak and camouflage’ in architecture, and with specific reference to the so-called Googie-style architecture of the American commercial strip, where signs, symbols and exaggerated forms in the form of advertising took precedence over function. Nine years later, Boyd’s 1969 design for ‘Neptune’s Fishbowl’, a drive-in takeaway fish and chips outlet on busy Toorak Road in South Yarra caused something of a sensation. It wasn’t just the flamboyant launch with a bare-breasted ‘mermaid’ on the back of an open truck that raised eyebrows. The building’s glazed polygonal form topped by a near geodesic blue fibreglass sphere drew criticism as being ‘Featurist’, an accusation laid at the term’s originator and against which Boyd had to defend himself in the press. This paper outlines Boyd’s design, its genesis within his own design preoccupations of the time, and its reception amongst the public and the profession. It argues that the Fishbowl was not only part of a new postwar architectural idiom designed specifically for the road but also that its design was part of an emerging acceptance that automobile-related architecture might play a decisive role in radically shifting opinions about the aesthetics of the late twentieth century city. -
Scientists' Houses in Canberra 1950–1970
EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 MILTON CAMERON Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cameron, Milton. Title: Experiments in modern living : scientists’ houses in Canberra, 1950 - 1970 / Milton Cameron. ISBN: 9781921862694 (pbk.) 9781921862700 (ebook) Notes: Includes bibliographical references and index. Subjects: Scientists--Homes and haunts--Australian Capital Territority--Canberra. Architecture, Modern Architecture--Australian Capital Territority--Canberra. Canberra (A.C.T.)--Buildings, structures, etc Dewey Number: 720.99471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Sarah Evans. Front cover photograph of Fenner House by Ben Wrigley, 2012. Printed by Griffin Press This edition © 2012 ANU E Press; revised August 2012 Contents Acknowledgments . vii Illustrations . xi Abbreviations . xv Introduction: Domestic Voyeurism . 1 1. Age of the Masters: Establishing a scientific and intellectual community in Canberra, 1946–1968 . 7 2 . Paradigm Shift: Boyd and the Fenner House . 43 3 . Promoting the New Paradigm: Seidler and the Zwar House . 77 4 . Form Follows Formula: Grounds, Boyd and the Philip House . 101 5 . Where Science Meets Art: Bischoff and the Gascoigne House . 131 6 . The Origins of Form: Grounds, Bischoff and the Frankel House . 161 Afterword: Before and After Science . -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Grounds, Boyd and the Philip House
4. Form Follows Formula: Grounds, Boyd and the Philip House Figure 4.1 Philip House, view from north-east Photograph: Ben Wrigley, 2011 John Philip was brought to Canberra as part of Frankel’s ambitious postwar recruitment program, and was appointed head of a new agricultural physics group at the CSIRO. Regarded as Australia’s leading environmental physicist, he was elected a Fellow of the Australian Academy of Science in 1967. His wife, Frances (‘Fay’), was an accomplished artist who was related to the Boyds via the Mills and à Becketts, and had attended the Murrumbeena State School in Victoria with Mary and Arthur Boyd. Many of Frances’s portraits of Australia’s leading scientists and academics—including Sir Mark Oliphant, Doug Waterhouse, John Jaeger, William Rogers, Patrick Moran and Manning Clark—are held in the collections of the Australian Academy of Science and The Australian National University. The Philip House, at 42 Vasey Crescent, Campbell, is one of three adjacent houses by Grounds, Romberg and Boyd that are known collectively as the Vasey Crescent Group. The other two houses in the group are the Blakers House and the Griffing House. Grounds and Boyd were both involved with these houses. All three were designed by Grounds, who arranged initial briefings, recorded 101 Experiments in Modern Living the clients’ requirements and prepared sketches from late 1959 through to early 1960. Boyd met with the clients in January 1960, and took control of the houses from May of that year as Grounds prepared for a three-month overseas trip.1 The Philip House is important for two reasons. -
Diggens Sculpture
The Elements within Sculpture - 4 June to 15 July 2011 L A U R A I N E · D I G G I N S · F I N E · A R T The Elements within Sculpture Such Diversity e have travelled a long way! The distance between the sculpture of Sir Bertram Mackennal (1863-1931) and the extraordinarily diverse works W produced by contemporary Australian sculptors is virtually immeasurable. Some fascinating links, nevertheless, remain. Bertram Mackennal was the first Australian artist to achieve great success overseas.* For most of his career he was resident in London where he was accepted by the establishment and enjoyed royal patronage. Furthermore, he was the first Australian elected to the Royal Academy, the first to have a work purchased by the Tate Gallery and the first Australian artist to be knighted. Influenced by Rodin, he became part of the New Sculpture movement in the UK where he practiced an idealised DEL KATHRYN BARTON 1972 - I am loving you like this (version 2), 2008 naturalism, which gave a new life to the classical tradition. bronze edition 3/3 Essentially a modeller in clay, many of his works were subsequently cast in bronze, 100 x 34 x 36 cm while others were carved in marble. Relying heavily on commissions and patronage, he produced a great number of portrait busts, memorials such as the regal Queen Victoria Memorial, 1897-1901, at Ballarat and a wonderful series of very sensuous female nudes: the National Gallery of Victoria has his arresting Circe of 1893 in their collection. The sexuality was made palatable to the attitudes of his period by the use of classical references, as with Vesta, 1900, in this exhibition.