DOCSLIB.ORG

Tect KS Crump with Prof. GH Mckay, Professor Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tect KS Crump with Prof. GH Mckay, Professor Of Issue No. 215 October-November, 1970 ville, designed by Lund, Hutton, Newell Paulsen Pty. Ltd., Townsville architects (See C-S No. 209, April '70) received this award. The Commercial category saw a winner in Stephenson & Turner's T. & G. Building in Brisbane (See C-S No. 199, May '69). ¶ Peter Blake successfully and entertainingly delivered the second Melbourne Architectural Papers Oration in October, to a large audience. He speculated on the term "oration", hoping it did not mean a speech at the funeral of architecture. His aims were to talk about some of the new forces and attitudes that have emerged in the last 25 years which he illustrated having as much luck with the projector as J. M. Richards did last year. His main themes were Pop, technology and the unfinished, open-ended society. Blake believes the first architect to understand pop is Robert Venturi who follows the existentialist view that the environment around one is to be accepted and not considered degenerate and one improves it if possible rather than imposing an aesthetic ideal. Venturi talks of buildings being decorated sheds and loves the "dumb" and the "boring" building that happened and does not draw attention to itself by its excited or imposing form. It's a matter of the designer "learning to love the status quo", the quality of life expressed in Nixon's silent majority — not a high or the low style but the Mid-style which Venturi seeks to progress. Venturi is aware of and loves facadism found in say the Western pioneer towns and the flat pierced front appears in many of his designs. Venturi's atti- tude is: the building is just there and forget it. The design is unpretentious with no allusions to signifi- cance or to one ideal, but carefully considered and worked over though it is. On the issue of technology Photo: Richard Edwin Stringer being a force in latter day architecture, Blake stressed This fountain was designed by the Assistant U. Archi- the technology of services. Mies expressed structure tect K. S. Crump with Prof. G. H. McKay, professor in the habitat which was a realisation of the structural of civil engineering and N. Bailey, mechanical engi- aesthetic of bridges etc. in the 19th C. The 20th C. neer, for the lake at the U of Queensland. An attempt engineer is involved in producing the megalithic ser- was made to achieve a height and width of water vice system programme construction, seagoing oil rigs movement, thrusting about 70 feet up (about 21 metres) etc. which is having its impact on proposals for and spreading about 50 feet (about 15 metres), which habitat e.g. the Archigram and Metabolist schemes would be in scale with the lake and its surroundings. for megalopolis. Lou Kahn with the Med labs. in In this aim the fountain seems successful. The whims Philadelphia, expressed the service cores and not the of wind play the infinite variety of patterns of moving structure where Mies would have centred the services water. Submerged pumps force the jets of water inside the outer perimeter of symbolic structure. through copper sheathed P.V.C. pipes set at heights Blake enthused about the new windowless research ranging from 4 feet (about 1 metre) and 12 feet (about lab. at Cornell U. formed in the sentiments of Kahn 4 metres). When not operating the columns appear where the fortress-like indented reinforced concrete as simple man-made elements like piers. At night structure is "covered in brick sauce". This is "archi- the vertical jets are lit to their full height by incan- tecture out of plumbing". Illustrating the mobile descent lights within each column and the horizontal multi-storey structures and the giant vehicle assembly jets lit by submerged fixtures. Brisbane architects building at Cape Kennedy, in which a microcosmic are considering the fountain the best in that city. storm cloud might form and drop rain, he remarked If The Queensland Chapter of the R.A.I.A. has just had that only babies and architects are still building out its turn at presenting awards by architects for archi- of mud. Rather unsatisfactorily the lecture rounded tects. The Bronze Medal was for Malleys Limited off with comments and illustrations on buildings administration block at Wooloongabba designed by which complied with the needs of a growing population Prangley & Crofts (See C-S No. 207, Feb. '70). Six rather than with the nature of the present day social other buildings in different categories received cita- condition of perpetual change which the third theme tions of merit. The prized house was the Carter resi- promised. Illustrating the Lincoln Centre and John dence in Toowong, designed by P. J. Moroney. The Andrew's Scarborough College, he said of the first that ecclesiastical citation was awarded for St. Mark's it was a typical 16th C development terminating Catholic Church, Inala, designed by Cullen, Fagg, Hargraves, Mooney & Cullen. In the Institution category, eccentrically a New York vista and of the second its the community building at the Q. Inst. of Tech. de- greatest virtue was its extendable internal linear signed by the State Works Department with design street giving access to more spaces of the same kind and documentation work by Hayes and Scott was when needed. Blake politely brought his audience up merited. In the Scientific building class the Agricul- to date on the assumption that no-one was. ture and Entomology building at U. of Q. designed If Architect G. J. Watt has been awarded the R.A.I.A. by James Birrell & Partners was cited (See C-S No. 203, Victorian Chapter's inaugural $2,000 Kingsley Anketell Sept. '69). In the Urban section Lowths Hotel, Towns- Henderson scholarship. If Neville Quarry, the immediate past editor of C-S, has been appointed Professor of Architecture at the Papua New Guinea Institute of Technology in Lae. Dr. Balwant Saini, another former editor of C-S, and newly appointed reader at the U. of Melbourne, has been appointed to the Council of the P.N.G.I.T. Photos: Laurie Richards The atmosphere of the friendly residential country Photos: Harry Sowden pub is retained in this reconstruction of the Victoria Hotel at Elmore in Victoria. The outward expression The waterfront site to the Myers House, Mosman, of the rural sloping roof is retained internally by N.S.W., is only 48 feet wide, (about 14.5 metres) and timber lining the upper side of the rafters substanti- restricted by building alignments to a cul-de-sac street ating cosy informal clerestoried spaces. All walls have and water line. There are 4 bedrooms, a study, living, been constructed primarily from hand made bricks dining and kitchen/family rooms and a boatshed under from the original 1873 structure (it's a pity they had the house totalling 35 squares (about 325 square to be bagged and painted white). For 603.5 square metres). The design makes no attempt to look out from metres (65 squares) the cost was $150,000 including the restricted side elevations but is heavily fractured air-conditioning, carpets and all furniture. Architect: in plan and section to gain see-through glimpses of James Sadler of Carlton and United Breweries Ltd. the water view from almost every room. The steep Engineers: Kinnaird Hill, de Rohan and Young. Land- slope of the site is echoed in the roof planes. A series scape consultant: Robert K. Skerritt. Builders: Warren of small courtyards lead from all rooms and, at the & MacMahon. lowest level, a timber deck opens the view to 180 ¶ Three major motor hotels (what's happened to the degrees. The bricks were obtained by the client prior term "motel"?) worth altogether nearly $10 million will to architect engagement and are very old sandstocks be built by Mainline Constructions Pty. Ltd. One is a from Liverpool. Their orange and red hues are carried $1 million 64 suite building of 7 storeys at Artarmon through other materials with Western Red Cedar win- dows and boarding, terra cotta tile floors and roof. on the Pacific Highway, N.S.W. Architects: Frank Kolos Architects: Ancher, Mortlock, Murray & Woolley Pty. and J. H. Bryant. An 81 suite $1.3 million nine-storeyed Ltd. (Partner in charge: Ken Woolley). The house em- structure is scheduled for completion in 1971 in New- bodies the aspirations and sentiments evident in Syd castle. Architects: Laurie & Heath. Construction of the Ancher's earlier domestic designs for picturesque $7.5 million Convention Hotel overlooking Canberra's identification with bush suburban site, using what Lake Burley Griffin begins this year with 215 suites in were once inexpensive materials. a 16-storey tower block. Architects: Peddle Thorp & Walker. ¶ A Mentone, Vic., building firm — Kurth Bros. Pty. Ltd. — has been commissioned by the Sultan of ¶ Construction on a new $500,000 hotel is under way Muscat to prefabricate a $75,000 motel for his Arabian in Belconnen, A.C.T., the first pub in the suburb. Archi- desert kingdom. tects: Kevin J. Curtain and Partners of Sydney. for all time. 7. The Melbourne City Council, represent- ing the people of Melbourne, and working in the community interest, has the final say on how the Civic Square and associated buildings will look — nobody else. 8. The eastern boundary of the square has a LOW building along it which will not exceed the height of the Town Hall and St. Paul's Cathedral. The other three sides front streets. (Observe the illustration — Ed.). 9. The Council will receive $601,000 in rent, plus rates, which could add up to $1,000,000 a year for every one of the next 94 years — money which can be applied to community needs.
Load more

Recommended publications
  • James Birrell Archive
    James Birrell Archive Award-winning Australian architect James Birrell, born in Melbourne in 1928, grew up in Airport West and attended Essendon State High School. Graduating with a Bachelor of Architecture from Melbourne University in 1951, he moved to Queensland in 1955 and was appointed staff architect to the University of Queensland in 1961. Birrell assisted in the Stephenson Plan development for James Cook University’s Townsville Campus (see James Cook University Site Plans Archive). He was responsible for the design of University Hall, Humanities II and the first stage of the Townsville campus library (officially named the Eddie Koiki Mabo Library on 21 May 2008). He was also responsible for a number of important Brisbane buildings including the Wickham Terrace car park, the Centenary Pool complex and the J. D. Story Building at the University of Queensland. James Birrell's distinguished career as an architect and town planner was recognised by the Royal Australian Institute of Architects in 2005 when he was awarded the prestigious RAIA Gold Medal. Birrell admired the work of Walter Burley Griffin and wrote a biography of him in 1964. The collection consists of: photographs; building plans; exhibition material; the RAIA 2005 Gold Medal Winner booklet; two CDs containing PowerPoint presentations to accompany addresses given by Birrell in Townsville and Cairns in 2005; and a third CD of photographs of JCU Townsville campus buildings taken when Birrell visited on 29 August 2005. Archive Location: 404M, Mabo Library Reading Room Plan Cabinet Drawers 10 and 11. BIR/1 (CD) The RAIA presents James Birrell LFRAIA: the Townsville Years.
    [Show full text]
  • A Search for Understanding: the Architecture of R.J. Ferguson
    A Search for Understanding: The Architecture of R.J. Ferguson. Andrew Marshall Murray ORCID: 0000-0002-6199-8666 Submitted in total fulfilment of the requirements for the degree of: Master of Philosophy January 2018 Melbourne School of Design. Faculty of Architecture, Building and Planning. The University of Melbourne 1 Abstract. This thesis is an historical study examining the work of Western Australian architect Ronald Jack (Gus) Ferguson (1931-). It argues that the regional practice of R.J Ferguson was one developed out of a global postwar “anxiety” over the role of architecture in a rapidly changing world, and is the result of a complex interplay of geo-political factors specific to Western Australia. Following an extensive tour of Africa, Europe and Asia between 1957 and 1960, Ferguson set out on what he termed a “search for architectural understanding”: seeking out lessons and principles drawn from a variety of traditional architectural practices as a way to mediate this anxiety. Motivated by Perth’s geographic isolation, Ferguson’s search involved extensive travel, research and application, resulting in a practice that relied on evolving relationships between regional and global traditions. Through an exploration of Ferguson’s work between 1960 and 1975, this study contributes to a better understanding of the conditions which directly affected his practice, including geography, harsh climatic conditions, an active local discourse, and the pragmatics of construction. The thesis explores three key campus projects: the Hale School Memorial Hall (1961); The University of Western Australia campus buildings, including the Law School (1967), the Sports Centre (1970), and the Student Guild (1972); and Murdoch University, Stage One (1975).
    [Show full text]
  • No Mean Plans
    NO MEAN PLANS Designing the Great Court at the University of Queensland by John W. East 2014 © John W. East The author would like to express his gratitude for much information and assistance provided by Bruce Ibsen (University of Queensland Archivist) and all the staff of the Fryer Library at the University of Queensland. CONTENTS 1. Introduction . 1 2. Prelude . 4 3. Jack F. Hennessy, Architect of the Great Court . 20 4. The First Phase (1936-1942) . 37 5. Post-War (1945-1960) . 64 6. The 1960s . 94 7. The 1970s . 119 8. The 1980s . 135 9. The 1990s . 140 10. 2000-2010 . 147 11. Afterword . 153 1. INTRODUCTION Whoever has the honour to be entrusted with the architecture of St. Lucia … must make no mean plans, for mean plans have no magic to stir any man's blood, or awaken inspiration in anyone, and the University should be an inspiration to her students. (J.J.C. Bradfield, June 22, 1936)1 The University of Queensland is blessed with perhaps the most attractive university campus in Australia. Nestled in a pocket of the Brisbane River at St Lucia, a leafy western suburb of Brisbane, it stands about five kilometres by road from the centre of the city, but is best approached by water, on one of the high-speed ferries which skim up-river from the central business district. The wide, meandering river surrounds the campus on three sides. Normally a placid, tidal waterway, it floods severely about once in a generation. This fact of nature has preserved the lower-lying parts of the campus from development, and the riverside areas are used mainly for sporting ovals and other recreational pursuits, creating a green girdle around much of the university.
    [Show full text]
  • The Art of the Brick Reviewed
    Internasionaal • International Derham Groves The art of the brick Reviewed Abstract To celebrate Australia’s strong tradition of brick architecture, as well as the largely unsung art of bricklaying, Australian architect and curator, Derham Groves, organized two complementary public exhibitions of full-scale brick structures designed by various architects and artists. The results were an intriguing mixture of art and the everyday, as Groves describes in the following article. Keywords: Bricks, architecture, bricklaying Abstrak Derham Groves, die Australiese argitek en kurator het twee openbare uitstal- lings oor volskaalse steen strukture wat deur verskeie argitekte en kunstenaars ontwerp is, georganiseer om die sterk Australiese tradisie van steen argitektuur asook die kuns van messelwerk te vier. Die resultaat was ’n intrigiese mengsel van kuns en die alledaagse soos wat deur Groves in die volgende artikel beskryf word. Sleutelwoorde: Stene, argitektuur, messelwerk Dr. Derham Groves is a Senior Lecturer in Architecture at the University of Melbourne, Australia. 71 Acta Structilia 2004:11(1&2) 1. The Ubiquitous Brick ricks are part of everyday life. They are the fabric of countless buildings – everything from cathedrals to privies. They also hold Bopen doors, support drawing boards and prevent cars from rolling down hill. Before the advent of the half-flush toilet, two bricks placed inside the cistern worked very nicely. Children contentedly play for hours with toy bricks, constructing imaginary worlds on the living-room floor. Significantly, one of the first lessons we learn as children is that a brick house is far superior to one built of either straw or wood. In the popular nursery tale, “The Three Little Pigs”, bricks not only represent durability and strength, but also security and wisdom.
    [Show full text]
  • Sub-Tropical Modernism, Featurism and Building Innovation: the Institu- Tional Projects of Stephen Trotter and James Birrell
    This may be the author’s version of a work that was submitted/accepted for publication in the following source: Lindquist, Marissa& Sanders, Paul (2019) Sub-tropical modernism, featurism and building innovation: The institu- tional projects of Stephen Trotter and James Birrell. In Musgrave, Elizabeth, Guedes, Pedro, & Rann, Lara (Eds.) Urban Tropi- cality:Proceedings of the 7th International Network of Tropical Architecture (iNTA). The University of Queensland, Brisbane, Australia, pp. 259-278. This file was downloaded from: https://eprints.qut.edu.au/133930/ c The authors This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] License: Creative Commons: Attribution-Noncommercial 4.0 Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source.
    [Show full text]
  • Drawing Out: Weave and the Environment in the Work of James Birrell and Walter Burley Griffin
    Drawing Out: Weave and the Environment in the biography of Walter Burley Griffin will be analysed through work of James Birrell and Walter Burley Griffin drawings and literature review to establish Griffin’s influence on Birrell’s planning in relation to surrounding landscape and Rachael McCall - November 2012 material selection. Don Watson argues Birrell’s study of Griffin began whilst he was a student1 and is evidenced in 2 Preamble Birrell’s 1953 article Current Building in Canberra . This study of Griffin, leads to analysis of Frank Lloyd Wright’s ‘textile 3 The Drawing Out research seminars have discussed using tectonic’ and Birrell’s work at the three scales; conceptual abstract and conceptual drawing and redrawing as a method weave, campus weave and crafted weave. of researching and revealing intrinsic architectural elements 4 and ideas in constructing architectural space. Questions In the polemic text, The Four Elements of Architecture, have been raised that query how research can be developed Semper celebrates the intrinsic nature of making and craft in and posed in architectural practice and within the practice of architecture. Of the four elements; roof, ground, enclosure design, rather than rhetorically lying in the field of theory and and hearth, the enclosure or wall, seemingly the most criticism of architecture. This discussion has lead to neglected element is chosen for further investigation. In conclusions that review of secondary source literature and Semper’s theory the wall is the moderator of the 5 drawings can lead to a closed and cyclical argument that environment . Semper sees the wall as implicitly linked to the tends not to reach or feed design practice.
    [Show full text]
  • Pdf, 942.91 KB
    Heritage Information Please contact us for more information about this place: [email protected] -OR- phone 07 3403 8888 Annerley Library & Community Centre Key details Also known as Annerley Civic Centre Addresses At 448 Ipswich Road, Annerley, Queensland 4051 Type of place Library Period Postwar 1945-1960 Style International Lot plan L312_SP260430; L1_SP260430 Key dates Local Heritage Place Since — 1 January 2004 Date of Information — March 2011 Date of Information — March 2011 Page 1 People/associations James Birrell (Architect) Criterion for listing (E) Aesthetic; (G) Social; (H) Historical association The Annerley Library, designed in 1956, is a surviving example of a purpose-built library designed by Brisbane City Council’s distinguished architect, James Birrell. Together with the adjoining Community Centre and its landscaped setting, the library forms a tranquil, shaded corner in the otherwise hostile environs of Ipswich Road. The library has been a valued community resource since its opening in the 1950s. The adjoining Community Centre has augmented the community facilities on the site. History Birrell designed three libraries for the Brisbane City Council – Annerley (1957), Chermside (1958) and Toowong. Chermside and Annerley were the first libraries built by the Council for more than 30 years. The Toowong Library was transferred from Birrell’s building to Toowong Village shopping centre in 2001. The old library has been incorporated into a commercial development that includes the site of the former Toowong Pool (also designed by Birrell, now demolished). The Chermside Library was made redundant with the opening of a new purpose-built library nearby in 1997. The old library was sold and is now commercial premises.
    [Show full text]
  • How the Canberra Camel Got Its Hump: the Departmental Board's
    How the Canberra Camel Got Its Hump: The Departmental Board’s Plan; Its Origins and Consequences Paul Reid Urban Research Proeram Working Paper No.54 July 1996 SERIES EDITOR: R.C. Coles Urban Research Program Research School of Social Sciences ISBN 0 7315 2465 9. Australian National University ISSN 1035-3828 Canberra, ACT 0200 Urban Research Program, Research School of Social Sciences, Australian National University 1996 National Library of Australia Cataloguing-in-Publication data: Reid, Paul 1933 How the Canberra camel got its hump: The departmental board’s plan; its origins and consequences Bibliography ISBN 0 7315 2465 9. 1.Australia. Dept, of Home Affairs. Departmental Board. 2. Federal Capital Design Competition (1911-1925). 3. City planning - Australian Capital Territory - Canberra. 4. Canberra (ACT) - Historical geography. I. Australian National University. Urban Research Program. II. Title. ( Series : Urban Research Program working paper; no. 54) 307.1216099471 URBAN RESEARCH PROGRAM WORKING PAPERS The Urban Research Program is a part of the reorganised Division of Politics and Economics in the Research School of Social Sciences, which came into being in early 1990. Like its precursor, the Urban Research Unit, which was established in 1966, it carries out studies in the social sciences on Australian cities. Work undertaken in the Program is multidisciplinary and ranges widely over economic, geographic, historical, sociological, and political aspects of urban and regional structure and development, as well as more general areas of public policy. Working Papers are issued on an occasional basis with the intention of stimulating discussion and making research results quickly and easily available. Most papers will be published in final form elsewhere.
    [Show full text]
  • Some Reflections on Holes, Emptiness and Longing in the Work of Two Australian Émigré Sculptors of the Fifties
    Hol(e)y Statues: Some reflections on holes, emptiness and longing in the work of two Australian émigré sculptors of the fifties Jane Eckett The first hole made through a piece of stone is a revelation. – Henry Moore, 1937.1 A striking feature manifest in much early twentieth‐century modern sculpture is the recurrent use of the hole, or, in sculptural parlance, ‘negative space’. From the late nineteenth century onwards, holes, openings, slits and punctures were increasingly introduced to sculptural forms, with Rodin, Bourdelle, Matisse and Rosso all rejecting the ideal of the smooth and wholesome neoclassical figure, instead favouring pitted and pock‐marked surfaces that bore witness to the processes of wax modelling and bronze casting. These ‘aberrations’ led the way to more radical reconstructions of the figure: from the cubist and constructivist analyses of Picasso, Archipenko and Gabo, to the slightly later open fretwork forms of Picasso, Gonzalez and Smith’s welded steel sculptures and Moore and Hepworth’s more abstract, pierced carvings of the 1930s.2 As the phrase ‘negative space’ implies, holes represent the opposite of solid form, or ‘positive space’. Objects, including – traditionally at least – sculptural objects, consist of particles condensed into stable, solid substances. Holes represent the dissolution of that solid matter, the dispersal of subatomic particles into airy circulation, and an effective destruction of form. For all the intriguing ramifications that this language of negation, destruction and dispersal might suggest, a sustained consideration of holes has been largely absent from art historical discourse. Key texts on sculptural theory, such as Rosalind Krauss’ Passages in Modern Sculpture and Alex Potts’ The Sculptural Imagination have been primarily concerned with the theme of time as it bears upon the phenomenological experience of encountering sculpture.
    [Show full text]
  • Inger Mewburn Final Archival Version Of
    Constructing Bodies: Gesture, Speech and Representation at Work in Architectural Design Studios Inger Blackford Mewburn Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy May 2009 Faculty of Architecture, Building and Planning The University of Melbourne Dedication For my husband Luke Mewburn: without whom I could not have completed this work. Not only did he offer unstinting love, support and encouragement, but he has proved himself to be a man who is proud to have a wife who has a few more degrees on the wall than he does. For my son Brendan, age seven, who has endured his mother undertaking two post graduate degrees in the span his short life to date. His affection, patience and willingness to play Nintendo for long periods of time can never be fully rewarded in the form of a completed thesis, but I hope he will read it one day anyway. 1 Abstract Previous studies of the design studio have tended to treat learning to design as a matter of learning to think in the right way, despite the recognition that material artifacts and the ability to make and manipulate them in architectural ways is important to the design process . Through the use of empirical data gathered from watching design teachers and students in action, this thesis works to discover how material things and bodies are important to the fabrication of architectural meaning and architectural subjectivity within design studios. In particular the role of gesture is highlighted as doing important work in design studio knowledge practices. The approach taken in this thesis is to treat design activity in design studios in a ‘post-human’ way.
    [Show full text]
  • Elementary, My Dear Watson? Don Watson's TAFE, 1992-'97
    QUOTATION: What does history have in store for architecture today? Elementary, My Dear Watson? Don Watson’s TAFE, 1992-‘97 Janina Gosseye The University of Queensland Abstract The online free dictionary defines “elementary” as “simple”, or “rudimentary”. The TAFE (Technical and Further Education) colleges that architect Don Watson designed while working for the Queensland State Government Department of Public Works are, however, anything but. Built predominantly during the 1990s, they are an inventive collection of geometrically precise educational buildings that draw on a wide palette of references. Robert Venturi, Aldo van Eyck, Frank Gehry, Louis Kahn and Robert Graves are only a few of the architects whose work Watson cites, and cleverly combines with references to Japanese architecture, 18th century Jeffersonian ideas of campus planning and local (Queensland vernacular) patterns of exterior timber studding. Watson’s TAFE colleges thus present some of the purest expressions of postmodernism in Queensland. And yet, these buildings have thus far not been well studied or comprehensively theorised. Focusing on Watson’s first five TAFE buildings – the technology buildings at the Toowoomba College of TAFE (1992-1995), the computing amenities building at the Ithaca College of TAFE (1992-1995), the administration and teaching building at the Gateway College of TAFE (1992-1995), the applied sciences complex at the Logan Institute of TAFE (1995-1996), and a student centre at the Southbank Institute of TAFE (1996-1997) – this paper investigates what Watson cites and to what end. Drawing on interviews with the architect himself, and relying on select quotations from these conversations, the paper highlights the rationales that informed the selection of references that Watson chose to incorporate in his designs.
    [Show full text]
  • Architecture I Theory I Criticism I History Atch
    CENTRE FOR ARCHITECTURE I THEORY I CRITICISM I HISTORY ATCH Author Wilson, Andrew Title ‘Torbreck: projections of mid-twentieth century Californian landscape’ Date 2009 Source Cultural Crossroads: annual conference of the Society of Architectural Historians, Australia and New Zealand ISBN 978-0-473-15065-5 www.uq.edu.au/atch Torbreck: Projections of Mid-twentieth Century Californian Landscape Andrew Wilson The University of Queensland Abstract Queensland architect Robert Froud cited émigré Austrian architect Karl Langer who taught him at The University of Queensland as particularly significant to the formulation of his thinking about architecture. Karl Langer’s first appointment was to teach the Garden Design subject in 1940. His archive reveals an ongoing interest in Californian landscape ideas and includes a type-copied version of Californian landscape architect Garrett Eckbo’s book Landscape for Living. Torbreck, an apartment complex on Dornoch Terrace in Highgate Hill, an inner-city suburb three kilometres south of the city centre of Brisbane, was a speculative project designed by Aubrey H. Job and R. P. Froud (Job & Froud) in 1957 and finally completed in 1961. It conflated the point block and linear block of Le Corbusier’s Plan Voisin (1925), bringing them into close proximity. It represented a radical departure from the walk-up block of flats typical of Brisbane during the inter-war years that had been the normative multi-residential type. Conceived as a city within the city the ground floor was planned as an arcade of shops, restaurants,
    [Show full text]