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BRG 18 Preliminary Inventory ______
_____________________________________________________________________ WOODS BAGOT ARCHITECTS PTY. LTD BRG 18 Preliminary Inventory __________________________________________________________________ Edward Woods (1837-1913) arrived in South Australia during 1860 and began working for the architect Edmund Wright. He helped design the GPO and Town Hall before starting out on his own in 1869; his first commission being St. Peter's Cathedral. By 1884, he had been appointed the colony's Architect-in-chief, and was an inaugural member of the S.A. Institute of Architects formed in 1886. Walter Bagot (1880-1963), a grandson of Henry Ayers and a student of St. Peter's College, became articled to Woods in 1899. He later studied architecture in London before entering into partnership with Woods in 1905. The following year, Bagot assisted with the formation of the first school of architecture in Adelaide, under the auspices of the School of Mines. Herbert Jory, James Irwin and Louis Laybourne-Smith joined the practice as partners in ensuing years; Laybourne-Smith (1880-1965) was also Head of the School of Architecture for 40 years and instrumental in its foundation. Woods Bagot have been a very influential in South Australia, with early emphasis on traditional styles and in ecclesiastical architecture. The firm designed Elder House, the Trustee Building, Bonython Hall, Barr Smith Library, the War Memorial, Carrick Hill and a number of churches in Adelaide and the country. Later commissions included John Martins, the Bank of NSW, CML and Da Costa Buildings, ANZ Bank and the Elizabeth City Centre, while more recent examples include Standard Chartered, Commonwealth Bank, Telecom and Mutual Health buildings. -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
4.1 Attachment a Forest Lodge Heritage Survey (2008) Recommendation : State Heritage Place
4.1 Attachment A Forest Lodge Heritage Survey (2008) Recommendation : State Heritage Place NAME: Forest Lodge house, outbuildings, garden and garden components PLACE NO.: 16242 Address: 19 Pine Street, Aldgate SUMMARY OF HERITAGE VALUE: Description: 'Forest Lodge' is an extensive Victorian era property comprising a 'hill-station' residence and intricate parterred garden within a pinetum, located between Stirling and Aldgate in the Adelaide Hills. The pinetum is the largest conifer collection in South Australia, and one of the largest and most mature in Australia. The austere Victorian Baronial-style residence was constructed by Walter C Torode to a design by architect Ernest Henry Bayer creating a grand two-storey freestone structure characterised by a three-storey castellated tower, terra cotta chimney pots, with associated bathhouse and water tower. Later additions maintained this architectural style. Changes to the landscape design between the 1890s to the 1930s ·introduced a northern Italian design style under architect Walter Bagot but did not compromise the original Victorian character and plantings. These components include: Main Residence: a grand Victorian Baronial style two storey residence constructed by prominent builder Walter Torode to a design by Ernest Bayer, largely constructed while the Bagot's were on their 'grand tour', featuring a castellated lookout tower and aspects to the east and south offering views over the newly established and now mature gardens. Woodland I Arboretum: an extensive open woodland arboretum, -
BARR SMITH LIBRARY University of Adelaide
Heritage of the City of Adelaide BARR SMITH LIBRARY University of Adelaide Off North Terrace This classically derived building is in stark contrast to Walter Hervey Bagot's other university building, the Bonython Hall, which was built in the mediaeval Gothic style. The library, of red-brick, stone dressings and freestone portico, is reminiscent of Georgian England, imposing, but elegant. It has also been likened to similar buildings at Harvard University. The original library complex dominates the main university lawns opposite the Victoria Drive Gates, enhanced by mature trees, and blends with the various other buildings also in red-brick and of this century. The Barr Smith Library is a memorial to Robert Barr Smith who from 1892 bequeathed large sums of money to purchase books for the university library. After his death in 1915 the family made the maintenance of the Library its concern. Following his father, Thomas Elder Barr Smith became a member of the council in 1924 and offered £20 000 for a new library to relieve the congested state of the one in the Mitchell Building. He increased his gift to cover the expected building cost of £34 000. Walter Bagot chose a classic style for the proposed library. The pamphlet describing the official opening of the Barr Smith Library stated that: The tradition that the mediaeval styles are appropriate to educational buildings dies hard; but it is dying. Climate is the dominant factor, and a mediterranean climate such as this should predispose us to a mediterranean, that is to say, a classic form of architecture . -
Hybrid Beauty and Vigour All of Its Own and Which Will Blossom Abundantly in the Waste Places of New Guinea’
an architect,Hybrid a missionary, and their Beauty improbable desires Newell Platten Contents Introduction viii Part one ....................................................................... 1 Marnoo to Modernism 3 2 The grand tour 14 3 Settling down 37 4 Dickson and Platten: the early years 51 5 Greece 62 6 Dickson and Platten: the later years 91 7 Town planning, citizens’ campaign – and Monarto 107 8 The South Australian Housing Trust 117 9 Interlude 129 Part two ....................................................................... 1 Ancestors 135 2 The Jewel of the Pacific 143 3 Land of childhood dreaming 169 4 Southern sojourn 197 5 Volcano bride 204 6 Prelude to war 220 7 Rabaul: a town no more 233 8 Last music 253 Part three ..................................................................... Epilogue 270 Acknowledgments, bibliography and photographs 282 Index 287 Map of Bismarck Archipelago Introduction y father’s final moments in a church before a handful of mourners, none of whom had prepared a eulogy, left me with a profound Msense of anti-climax, almost distress that a life that had been lived in exotic places, had been idealistic, adventurous, selfless and in many ways exemplary should pass so unremarked. On retiring from my own professional career I wanted to make good the omission and give voice to his silence, so I have spent many hours tapping out the story of his life. Perhaps not wanting to suffer a similar if more appropriate exit, I wrote my own memoir. Kind people read them, making various suggestions. One friend told me everyone was writing schoolday stories; no one wanted to read about missionaries nowadays, but perhaps, a document on my years as an architect, and his in the mission field, might work if I identified the necessary unifying themes. -
GARDENS in SOUTH AUSTRALIA 1840 - 1940 Guidelines for Design 2 5 and Conservation
HERITAGE CONSERVATION GARDENS IN SOUTH AUSTRALIA 1840 - 1940 Guidelines for Design 2 5 and Conservation D NR DEPARTMENT OF ENVIRONMENT AND NATURAL RESOURCES The financial assistance made by the following to this publication is gratefully acknowledged: Park Lane Garden Furniture South Australian Distributor of Lister Solid Teak English Garden Furniture and Lloyd Loom Woven Fibre Furniture Phone (08) 8295 6766 Garden Feature Plants Low maintenance garden designs and English formal and informal gardens Phone (08) 8271 1185 Published By DEPARTMENT OF ENVIRONMENT AND NATURAL RESOURCES City of Adelaide May 1998 Heritage South Australia © Department for Environment, Heritage and Aboriginal Affairs & the Corporation of the City of Adelaide ISSN 1035-5138 Prepared by Heritage South Australia Text, Figures & Photographs by Dr David Jones & Dr Pauline Payne, The University of Adelaide Contributions by Trevor Nottle, and Original Illustrations by Isobel Paton Design and illustrations by Eija Murch-Lempinen, MODERN PLANET design Acknowledgements: Tony Whitehill, Thekla Reichstein, Christine Garnaut, Alison Radford, Elsie Maine Nicholas, Ray Sweeting, Karen Saxby, Dr Brian Morley, Maggie Ragless, Barry Rowney, Mitcham Heritage Resources Centre, Botanic Gardens of Adelaide, Mortlock Library of the State Library of South Australia, The Waikerie & District Historical Society, Stephen & Necia Gilbert, and the City of West Torrens. Note: Examples of public and private gardens are used in this publication. Please respect the privacy of owners. Cover: Members -
Pro Patria Commemorating Service
PRO PATRIA COMMEMORATING SERVICE Forward Representative Colonel Governor of South Australia His Excellency the Honorable Hieu Van Le, AO Colonel Commandant The Royal South Australia Regiment Brigadier Tim Hannah, AM Commanding Officer 10th/27th Battalion The Royal South Australia Regiment Lieutenant Colonel Graham Goodwin Chapter Title One Regimental lineage Two Colonial forces and new Federation Three The Great War and peace Four The Second World War Five Into a new era Six 6th/13th Light Battery Seven 3rd Field Squadron Eight The Band Nine For Valour Ten Regimental Identity Eleven Regimental Alliances Twelve Freedom of the City Thirteen Sites of significance Fourteen Figures of the Regiment Fifteen Scrapbook of a Regiment Sixteen Photos Seventeen Appointments Honorary Colonels Regimental Colonels Commanding Officers Regimental Sergeants Major Nineteen Commanding Officers Reflections 1987 – 2014 Representative Colonel His Excellency the Honorable Hieu Van Le AO Governor of South Australia His Excellency was born in Central Vietnam in 1954, where he attended school before studying Economics at the Dalat University in the Highlands. Following the end of the Vietnam War, His Excellency, and his wife, Lan, left Vietnam in a boat in 1977. Travelling via Malaysia, they were one of the early groups of Vietnamese refugees to arrive in Darwin Harbour. His Excellency and Mrs Le soon settled in Adelaide, starting with three months at the Pennington Migrant Hostel. As his Tertiary study in Vietnam was not recognised in Australia, the Governor returned to study at the University of Adelaide, where he earned a degree in Economics and Accounting within a short number of years. In 2001, His Excellency’s further study earned him a Master of Business Administration from the same university. -
Art Casualty of Built History – Curator Essay
1 Art Casualty of Built History Curator Essay by Emily Collins Museum Consultant and Curator with the Women’s and Children’s Health Network Following on from Forgotten Murals of the Adelaide Children’s Hospital (2018), the exhibition Forgotten Murals II: Art Casualty of Built History sketches the life story of another significant large-scale artwork to emerge from the Women’s and Children’s Hospital archives. The work was a Modernist concrete mural relief with raised abstract motifs designed by Reginald Goodman Steele (1911–84), an architect for Woods, Bagot, Laybourne-Smith and Irwin (now the global firm Woods Bagot). Bold in both design and scale, the sculpture inhabited the upper southern façade of the General Purposes Building (GPB) constructed c1962–4 at the old Children’s Hospital in North Adelaide. A mid-century example of Arts in Health, this playful artwork was designed to bring happiness to young patients. It also brightened the days of those who laboured to maintain the built environment to support their healing. There are few known photographs of this artwork. It was difficult to capture in entirety. Its host structure, the low-rise GPB, dwelled in a shadow between the towering chimney of the Hospital’s Boiler House and the 11-storey Outpatients (Clarence Rieger) Building, which it was built to serve. Woods Bagot had been commissioned to design all three structures as part of the same major project. The GPB was charged with housing the Hospital’s electrical transformers, emergency generator, liquid oxygen plant and maintenance workshops. Reginald Steele, creator of the curious mural, was articled to Woods Bagot in the late 1920s while studying at the South Australian (SA) School of Mines and Industries (now the University of South Australia). -
The Galweys & Gallweys of Munster
Digitized by the Internet Archive in 2016 https://archive.org/detaiis/galweysgailweysoOObiac The Galweys & Gallweys of Munster by Sir Henry Blackall Updated & Computerised by Andrew Galwey & Tim Gallwey Revised issue 2015 Vinctus sed non Victus Vincit Veritas PUBLIC VERSION N.B. May be put into the public domain. See over. 1 CONDITIONS OF ACCEPTANCE, USE, COPYING & TRANSMISSION Risk of Identity Theft This version is for general usage since only the year of birth, marriage or death is given i.e. no day or month, for people born after 1914, married after 1934 or died after 1984. It is available in some publicly accessible locations such as the library of the Irish Genealogical Research Society, National Archive of Ireland, Public Record Office of Northern Ireland, Cork County Library (Reference section). National Library of Ireland, and Clonakilty Library. There is also a FAMILY VERSION which is restricted to family members only, as it has full details of day, month and year of birth, marriage and death, where known, to facilitate identification of individuals when located. Such information is not provided in this version due to the risk of identity theft. Open Source The information contained herein has been collated from many sources. The bulk comes from copies of the Journal of the Cork Historical and Archaeological Society (JCHAS) which owns the copyright. Other material has been published in The Irish Genealogist and further information has been gleaned from the internet, requests to family members, personal archives, and so on. This is a living document and is distributed subject to the conditions of the copyleft convention (GNU GENERAL PUBLIC LICENSE See http://fsf.org ) whereby there is no charge for copying or distributing. -
The Calabar Transcript Andrew Peek University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2003 The Calabar transcript Andrew Peek University of Wollongong Recommended Citation Peek, Andrew, The Calabar transcript, University of Wollongong. Faculty of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2003. http://ro.uow.edu.au/theses/935 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Calabar Transcript A creative work and exegesis submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Creative Arts from University of Wollongong by Andrew Peek M. A., CertEd. (Cantab), Ph.D.(University of Sheffield) Faculty of Creative Arts 2003 CERTIFICATION I, Andrew Peek, declare this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Creative arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Andrew Peek 28 August, 2003 ABSTRACT The creative component of this project consists of a volume of poetry in three parts, entitled The Calabar Transcript. Part 1, Beneath Lion Mountain, presents images from half a millennium of contact between Europe and Africa. Part 2, Zip!, documents moments in the lives of dwellers in contemporary African states today. Part 3, The Calabar Transcript, is a discontinuous narrative based on the life of the Ovonramwen, the last leader of an ancient imperial Edo dynasty in what's now southern Nigeria. -
Making 'The One Day of the Year': a Genealogy of Anzac Day to 1918
Making ‘the One Day of the Year’: a Genealogy of Anzac Day to 1918 Mark Hamilton Cryle BA (Honours I) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2015 School of Historical and Philosophical Inquiry Abstract This thesis examines the early years of Anzac Day, providing an account of its troubled history from 1915 to the 1918 commemorations. It examines Anzac Day in the context of an ongoing desire for a ‘national day’, the commemorative patterns that were extant at the time, the rhetoric that was in circulation, and the diverse needs and desires of the ruling elites, the bereaved, and an increasingly war-weary and divided populace. Anzac’s emergence can be traced to a commemorative lacuna which had been articulated in Australia since Federation. By April 1916 a discursive and performative script for the commemoration was in place, derived from wartime public patriotic events and organised by loyalist elites who sought to prosecute the war with the utmost vigour. Their endeavours were inspired as much by the desire to promote recruiting and to mobilise the home front around the war effort as they were to memorialise the casualties from Gallipoli. The intent was to focus national energies on the war and to contain and manage the public grief that followed the campaign so that it did not compromise Australians’ commitment to the struggle. The evidence shows that, in its formative years, the occasion was freighted with the rhetoric of national birth and married with national swagger and self-congratulation around the military achievements of the Anzacs. -
Conservation Strategy St Peter's Cathedral North Adelaide
CONSERVATION STRATEGY ST PETER'S CATHEDRAL NORTH ADELAIDE March 2014 McDougall & Vines Conservation and Heritage Consultants 27 Sydenham Road, Norwood, South Australia, 5067 Ph (08) 8362 6399 Fax (08) 8363 0121 Email: [email protected] CONSERVATION STRATEGY FOR ST PETER'S CATHEDRAL CONTENTS Page 1.0 INTRODUCTION 1 1.1 Background 1.2 Objectives of Conservation Strategy Document 1.3 Existing Heritage Listings 1.4 Location of Site 1.5 Current Ownership and Management of the Cathedral 1.6 Acknowledgements 1.7 Authors of this Report 2.0 HISTORICAL OUTLINE AND ARCHITECTURAL ANALYSIS 5 2.1 Historical Development of St Peter’s Cathedral 2.1.1 Planning for the Cathedral 1847-1862 2.1.2 Stage One – 1869-1878 (Sanctuary, Choir, Transepts and One Bay of the Nave) 2.1.3 Stage Two – 1890-1894 Lower Section of Three Bays of the Nave 2.1.4 Stage Three – 1899-1901 Upper Section of Three Bays of the Nave 2.1.5 Stage Four – Towers & Spires 2.1.6 Stage Five – 1902-1904 Lady Chapel 2.1.7 Other Works 2.1.8 Setting 2.2 Architectural Description and Analysis 2.3 Walter Bagot’s Descriptions 1907-1945 2.4 Summary Time Line - Including Recent Works 2.5 Early Drawings of the Cathedral, Stages 1 – 5 2.6 Early Photographs of the Cathedral 3.0 STATEMENT OF CULTURAL SIGNIFICANCE OF ST PETER'S CATHEDRAL 19 3.1 Cultural Significance 3.2 Delineation of Significant Fabric and Components 3.2.1 Site Elements 3.2.2 External Elements 3.2.3 Internal Elements 4.0 CURRENT CONDITION ASSESSMENT AND RECOMMENDATIONS 21 4.1 Site Analysis and Recommendations 4.2 External Analysis