HEIDE I CONSERVATION PLAN
Building Services Agency
DEPARTMENT OF INFRASTRUCTURE, VICTORIA May 1997 (Amended February 2000 by Heritage Victoria)
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HeideI Conservation Plan Contents
Contents Page No.
Executive Summary iii
1.0 Introduction iv
1.1 Background IV 1.2 Heritage Status iv
2.0 History 2.1 The Site and Building 1 2.1.1 The Outbuildings 2 2.1.2 The Garden 3 2.2 The Architect 4 2.3 The Design 4 2.4 Use of the Buildings 5 2.5 Historical Associations 5 2.6 Alterations to the Fabric & Setting 5
3.0 Significance
3.1 Assessment of Significance 8 3.2 Statement of Significance 9
4.0 Conservation Policy
4.1 Significant Areas and Elements 11 4.2 Fabric and Setting 14 4.3 Future Development 19 4.4 Use 19 4.5 Presentation and Interpretation 20 4.6 Management 22 4.7 Heritage Permit Exemptions 22
5.0 Conservation Action
5.1 Statutory Protection 23 5.2 Prioritised Schedule of Works and 23 Estimates 5.3 Financial and Technical Assistance 24
1 Heide I Conservation Plan Contents
Illustrations 26 Bibliography 42 Appendix 1 Chronology 43 Appendix 2 Room Survey 50 Appendix 3 Maintenance Works Estimate 56
11 Heide I ConservationPlan Executive Summary
Executive Summary
This Conservation Plan assesses the cultural significance of Heide 1 and concludes with recommendations for future management and conservation of the building and site. The findings are:
Heritage Status
Heide 1 is subject to heritage protection at the State and Municipal levels.
Cultural Significance
Heide 1 is culturally significant for its association with the notable art patrons and collectors, John and Sunday Reed, who from the 1930s to the 1980s, provided a congenial and supportive environment for a wide range of artists, poets, writers and jazz musicians, many of whom lived and worked at Heide during their early formative years. It is also significant as a personal paradeisos of the 1930s-1960s, the creation of John and Sunday Reed.
Conservation Policy
Heide 1 has most recently been used as a residence, but is currently unoccupied. It is recommended that consideration be given to the use of the building as a resource centre, a house museum or another art museum space for special exhibitions; and that the house and as far as possible the garden also, be presented as they were between 1954 and 1968.
Heide 1 requires re-stumping, repairs to roof, window and door joinery, the weatherboards and some internal plaster. An alarm system is needed, to be connected to Heide II and the caretaker. Consideration must be given to public safety and fire protection. An on-going maintenance program is recommended to ensure preservation of this important building for the benefit of future generations. Preservation will address areas of primary and contributory significance.
Conservation Action
Priority works required to Heide 1 include re-stumping, the repairs to the roof, window and door joinery, the weatherboards and some internal plaster, to a total estimated cost of $37,080.00. Other works depend on the proposed use and are set out in Section 5.2.1. Considerable work is required to the garden, including restoration and replacement of damaged areas.
iii Heide I Conservation Plan lntoduciion
1. Introduction
1.1 Background
This conservation plan has been commissioned and funded by Arts Victoria with the aim of: • establishing the cultural significance of the buildings and garden • formulating conservation policies • preparing management plans to maintain, and where appropriate, enhance the significance of the facility.
Heide 1 has most recently been used as a residence, but is currently unoccupied.
1.2 Heritage Status
Heritage Register, Heritage Act 1995
Heide 1 is included on the Victorian Heritage Register. It is therefore protected under the Heritage Act 1995. Buildings on the Heritage Register may not be altered (ie. demolished, subdivided, developed, moved) without a permit.
Manningham Planning Scheme
Heide 1 is protected under the Manningham Planning Scheme as an individual heritage building. A permit is required to demolish, remove or externally alter the building or to construct, erect or illuminate an advertising sign on the site.
Australian Heritage Commisssion
Heide 1 is included on the Register of the National Estate. Registration entails no statutory controls but is necessary for eligibility for funds under the National Estate Grants program administered by the Australian Heritage Commission
National Trust of Australia
Heide 1 is on the National Trust Register at a State level.
IV Heide I Conservation Plan Hisioru
2.0 History
2.1. The Site & Building
The land on which Heide I and Heide II stand was part of the holding of Sidney Ricardo (1819-1896) who first came to the Port Phillip District in 1843 and farmed at Heidelberg and Templestowe. His 150 acre farm at Bulleen, on which he grew potatoes and other vegetables, was described in 1860 as the richest farm in South Bourke. In 1856 Ricardo led a group to petition the Government to form a Roads Board for Templestowe. He was elected Chairman of the first Roads Board, remaining in that position until 1862. Meanwhile he was nominated by his neighbours for the seat of South Bourke in the first elections for the Victorian parliament in 1856. He was not elected but in 1857 he won a by-election and became MLA for South Bourke. 1 A radical politician, Ricardo was a champion of the small farmer, advocating the unlocking of Victoria's land to small holders rather than reserving large acreages for the squatters. He advocated also the extension of the franchise. He urged local farmers to adapt farming techniques to Australian climatic conditions. When his term was completed, Ricardo did not seek re-election, preferring to concentrate on farming and local affairs. Ruins of a stone chimney are reported to be the only remnant of his occupation.'
The next owner seems to have been Thomas John Dowd, described as farmer and gentleman who probably built the timber house now known as Heide I in the 1870s. He was followed by James Lang, an Englishman who added to it in 1889 and became the owner-occupier in 1893. Lang was elected to the Templestowe Shire Council in 1900.
John and Sunday Reed bought the property in 1934 in two parcels. The main section of 11 acres, 3 roods amd 32 perches was bought from A.G. Roberts for £1114.10.0. Another 2 acres, 2 roods and 24 perches on which Heide I stands were bought from the estate of James Lang, deceased. The Reeds lived in the weatherboard house from that time until the completion of the house/gallery Heide II in 1968. Heide I was then occupied by their adopted son Sweeney and his family until 1978. The Reeds returned to Heide I in 1980 when the State Government purchased Heide II as the Heide Park and Art Gallery. The Reeds died within 10 days of each other in December 1981. Heide I was left to Barrett Reid as life tenant with Philip Jones. Reid lived there until his death in August 1995.
1 Judith Leaney. Bulleen : A ShortHistory. Illustrated by Irvine Green. Donvale, Vic., Doncaster-Templestowe Historical Society, 1991. p. 14-16 2 National Trust File FN 4374
1 Heide I Conservation Plan H ision)
John Reed describes the property of Heide I as " a rundown dairy farm" in 1934. It consisted of "15 acres with a river frontage, about 4 acres of river flats and the rest hillside running up to Templestowe Road. ,,3
John Reed (1901-1981) came from a Tasmanian grazier family and was educated at Cambridge. Sunday Reed was born Sunday Baillieu in 1904. The daughter of a wealthy Melbourne family, she married an American businessman in 1926, but was divorced shortly afterwards. Sunday and John Reed were married in 1932. At that time John was a partner in the law firm of Blake and Riggall. Later he practised as a solicitor from Collins House until he formed with Max Harris the publishing firm of Reed and Harris. This collapsed in 1946 and Reed did not take up his law practice again. In 1953, he became president of the Contemporary Art Society, and in 1956 the director of the Gallery of Contemporary Art. In 1956 the Gallery became the Museum of Modern Art in Australia with John as its director until 1965. The Museum of Modern Art was based on the Reed collection of art works.
The house was built in the 1870s as a dairy farm owned by T.J. Dowd, and enlarged by James Lang in 1889. The house bought by John and Sunday Reed in 1934 was more or less as constructed in the 19th century but the Reeds carried out some changes to the house in the 1930s and extensive renovations in 1954.
2.1.1 The Outbuildings
The Former Dairy/Dolls House
The Dolls House was an outhouse in which paintings were stored. It was in the garden near the milking shed.' The existing outhouse to the north-east of the house may be the Doll's House. However it is known as the former dairy.
The Bungalow
The bungalow (also known as the cottage) is a fibrous cement-lined, single roomed structure with a car port, located immediately to the east of the house. It is believed to have been built to accommodate the artist Peter Hobbs c.1968 when John and Sunday moved to Heide II and Sweeney moved into Heide 1. Prior to this Peter Hobbs had been living with the Reeds at Heide 1.5
3 John Reed to J. H. Willis, National Herbarium, 24 February 1967 (Reed Papers, Box 1/2) 4 [anine Burke, Dear Sun p.252 5 Simon Dickeson, conversation 27.02.'97
2 Heide I Conservation Plan History
The Car Shed
This timber, skillion-roofed, open-fronted shed was built by Sweeney to accommodate his cars, c.1970.
Other Outbuildings
There was a fowl house and there may have been other outbuildings which no longer survive. 6
2. 1. 2 The Garden
John Reed described the site when they first came to Heide:
When we came the place was almost bare cow paddocks with a few red Gums and willows on the river bank, an old Blackwood at the foot of
the hill, a very big and old Red Gum at the top of the hill ... 7
By 1944:
At the front was an immaculate English garden bounded by a lavender hedge and a long, curving, raked-gravel driveway; behind the house lay a less formal landscape in which the grass grew long and open paddocks extended down to the banks of the Yarra,"
Neil Douglas worked with the Reeds on the Heide garden from the mid thirties. He claims the wild garden as his primary influence.' By 1947 :
The wild garden is heavy with the scent of magnolias"
Neil Douglas helped also with planting the area within the drive as an orchard, and many other trees over the 15 acres, including 400 birch trees which all subsequently died. He attributes Sunday Reed with a formal taste for gardening - box hedging and old-fashioned plants. He contrasts her taste for romantic colours including Celtic blue, with his own liking for hot orange colours." The brick wall around two sides of the heart garden on the east side of the house was built to shelter the front garden from the northerly winds.
6 [anine Burke, P: 145 7 Correspondence, John and Sunday Reed Papers, Australian Manuscript Collection, State Library of Victoria S Richard Haese, Rebels and Precursors p.192 9 Neil Douglas interviewed by [anine Burke. 1996. 10 [anine Burke, P: 124 11 Neil Douglas interviewed by[anine Burke. 1996.
3 Heide I Conservation Plan History
Trees planted at Heide included hawthorns, laurels, spindles, oaks, and hollies. Garden plants included herbs, roses, daisies and persimmon trees. A long drainage swale running along the line of the present fence separating Heide I from Heide II was planted out with violets and known as the 'violet tunnel'.12
Red gravel paths were put in at Heide c. 1952.13
The first kitchen garden to the east of the house gradually became shaded out as the trees matured. This is now known as 'the rainforest'. A new kitchen garden was planted by Sunday to the north of the house.
By the mid 1960s, the Reeds had undergone a change of heart regarding their introduction of exotics to the natural landscape. A letter written by John Reed to J. H. Williams Esq. at the Herbarium, dated 24 February 1967 states: Now withfurtherexperience, we would like to establish asfar as possible theflora which was indigenous to the particular area. 14
However it was the romantic European garden surrounding the 'French cottage' which caught the imagination of many who visited Heide I. Joy Hester and others in their letters make many references to the violet tunnel, the roses, the lavender. etc. 15
2.2 The Architect
The architect or designer for the original house is not known. The 1954 alterations were carried out by Melbourne architects Yuncken Freeman Brothers, Griffiths & Simpson. Freeman is mentioned by Sunday in a letter to Joy Hester in 1952. 16
2.3 The Design of the House
The original design appears to have been a double fronted Victorian weatherboard house with a central hallway and two rooms opening off it on either side. A verandah with cast iron decoration surrounded the house on all sides. 17 There was a detached kitchen at the rear. The alterations by the Reeds in the 1930s (removal of the verandah and addition of a gabled portico over
12 [anine Burke, p. 79 13 [anine Burke, p. 241
14 Australian Manuscripts Collection, State Library of Victoria 15 [anine Burke, p. 79 16 Ibid, p.250
17 Neil Douglas interviewed by [anine Burke. 1996.
4 Heide I Conservation Plan History
the front door) were intended to give this Australian farmhouse the appearance of a French provincial cottage, at the same time allowing more light to penetrate the interior. 18
2.4 Use of the Buildings
The buildings were used as a residence and associated outhouses from the 1870s to 1996.
2.5 Historical Associations
Among those who spent some of their early formative years living and working in the congenial and supportive rural environment provided by the Reeds were such notables as Sir Sidney Nolan, Arthur Boyd, Sam Atyeo, Albert Tucker and Joy Hester. The most significant demonstrable association lies with Sidney Nolan, who painted the Kelly series of paintings on the dining room table in 1946. The 'brilliant ochre' colour with which he painted the living room walls" survives beneath later layers of paint, as does the
'Mediterranean pink' which he mixed for the exterior walls. 20
Heide as it was up to 1968 lives through the letters of Joy Hester and Sunday Reed, as edited by[anine Burke", and through many other letters yet to be read which are in the Australian Manuscripts Collection of the State Library of Victoria. Hal Porter noted in a letter written to thank the Reeds after a visit he made to them in 1964 that 'the garden especially haunts me"."
2.6 Alterations to the Fabric and Setting
The House
The 1930s changes included the adding of a kitchen and bathroom, along with extensive bookshelves. The verandah was removed, new slate roofs installed over bay windows, and the fanlight over the front door was blocked up to accommodate the new portico. Hydronic heating was installed at this time.
18 Neil Douglas interviewed by[anine Burke. 1996. 19 [anine Burke, p. 250
20 Richard Haese, Rebels and Precursors, p.238 21 Dear Sun, Melbourne, 1997. 22 Mary Lord, Hal Porter, Man ofMany Parts, NSW, 1993
5 Heide I Conservation Plan HistonJ
In 1952 -54 a number of changes were made, including a new sunroom and bathroom, and two bedrooms amalgamated into one. The Library was repainted and new bookshelves designed and fitted. 23
The 1954 plans show a door already existing between the dining room and sunroom, the new glazed screen to the sunroom (possibly brought from elsewhere as the bottom seems to have been built up, and the double hung sashes modified), a new ceiling to the sunroom, and new timber steps and landing to the garden; removal of the wall between two rooms to form Sunday'S bedroom, which was then papered with a rose-patterned wallpaper, and the replacement of the windows with double doors to the garden. These plans show the existing door through the west wall, (previously to a small room enclosed under the verandah), a step down to the new dressing room, en suite bathroom and clothes closet, the blocking up of the former door between the passage and the former middle bedroom; new double doors to the east side of the sunroom (which were not in fact installed), and relocation of existing windows to the old bathroom and new dressing room.
Existing windows from the former two bedrooms as well as the one from the sunroom, were relocated as part of this work. A boiler was installed to serve hot water radiators throughout. The laundry lean-to was altered to accommodate the boiler, including replacement of the former side door (seen in photograph)" with a window and a new door on the west side. A toilet was built between the laundry and new boiler room. The bookshelves in the sitting room were rebuilt and extended and new bookshelves built in the front bedroom. Small benches were added to the kitchen and laundry. The wall between the kitchen and laundry was removed and a new beam installed to support the roof, allowing the laundry and larder to become one large space. A new cupboard was added to the kitchen and a wood box just outside in the sunroom. A rubbish chute was provided from the kitchen to the boiler room. An existing cupboard was relocated to the larder.
The Garden
From 1968 Sweeney made several changes to the garden of Heide 1. The orchard within the half circle of the drive was removed and eucalypts planted in an open, grassed area. The heart garden was altered by the removal of the heart-shaped bed and the introduction of stone paving and clumps of bamboo. This area was totally closed off from the drive by a horizontally boarded, stained, sawn timber fence and gate."
23 [anine Burke, p. 250 24 Albert Tucker's collection - photograph of rear of house showing Sunday on the back steps 25 Simon Dickeson, conversation 27.02.'97.
6 Heide I Conservation Plan History
The garden of Heide was subdivided when Heide II was sold to the State Government as the Museum of Modern Ar t in 1980, at which time a paling fence was constructed between the two properties.
From 1982 Barrett Reid lived in the house and made further changes to the garden, including the addition of the pool and paved surround at the rear of the house, and the closing of vistas at the ends and junctions of paths by the placement of urns or other features, He also introduced borders along certain walks, re-instated the lavender hedge along one side of the driveway (albeit a different species from the original), and introduced new roses as replacements in the second kitchen garden."
26 Simon Dickeson, conversation 27.02.'97.
7 Heide I Conservation Plan Significance
3.0 SIGNIFICANCE
3.1 Assessment of Significance
Heritage Council Criteria for Assessment of Cultural Heritage Significance
(Criteria adopted by the Heritage Council on 6 March 1997 pursuant to Sections 8(c) and 8(2) of the Heritage Act 1995)
Criterion A The historical importance, association with or relationship to Victoria's history of the place or object
Criterion B The importance of a place or object in demonstrating rarity or uniqueness
Criterion C The place or object's potential to educate, illustrate or provide further scientific investigation in relation to Victoria's cultural heritage
Criterion D The importance of a place or object in exhibiting the principal characteristics or the representative nature of a place or object as part of a class or type of places or objects
Criterion E The importance of a place or object in exhibiting good design or aesthetic characteristics and / or in exhibiting a richness, diversity or unusual integration of features
Criterion F The importance of a place or object in demonstrating or being associated with scientific or technical innovations or achievements
Criterion G The importance of a place or object in demonstrating social or cultural associations
Criterion H Any other matter which the Council considers relevant to the determination of cultural heritage significance.
Of the above criteria, A and H are the most relevant. Heide 1 has a place in Victoria's and indeed Australia's art and literary history through its
8 Heide I Consertaiion ns« Significance
association with painters such as Sidney Nolan, Albert Tucker, John Perceval and Joy Hester, the formation of the Contemporary Art Society and the Museum of Modern Art; the publishing of Angry Penguins, and the other publishing ventures of Reed and Harris.
The house and garden as a creation of John and Sunday Reed and their various helpers such as Neil Douglas are important in exhibiting aesthetic diversity (Criterion E) and the principal characteristics of a place type, being a 20th century romantic demesne(Criterion D).
Comparative Analysis
Heide as a place can be compared with other romantic demesnes of the period in Victoria such as Cruden Farm, Mulberry Hill, Coombe Cottage - all of which comprise redeveloped older houses set in a paradeisos or pleasure garden comprising primarily exotic plants and trees.
These houses and gardens are distinct from those created as part of large farming or pastoral establishments in the 19th century in that they were created primarily as expressions of their creators' personalities and aspirations. They represent a recurring desire amongst the professional classes for a retreat to the idealised countryside - escape to peace and fresh air. This echo of the 18th century dream of a country estate can perhaps be seen as another facet of the interest in all things Georgian during the earlier part of the 20th century.
All of the examples listed above also have strong social and cultural interest due to their owners' involvement in the arts, and their associations with artists, writer, musicians etc. Heide in particular is culturally significant for its association with the notable art patrons and collectors, John and Sunday Reed, who from the 1930s to the 1980s, provided a congenial and supportive environment for a wide range of artists, poets, writers and jazz musicians.
3.2 Statement of Significance
The Historic Buildings Council's Statement of Significance as signed by the Minister for Planning and Environment (Tom Roper in 1988) is as follows:
The Heide properiu hasnational significance for its association with the notable art patrons and collectors, John and Sunday Reed, who,from the 1930s to the 1980s provideda congenial and supportive environment for a wide range ofartists, poets, writers and jazz musicians, many ofwhom livedand worked at Heide during their early formative years.
9 HeideI Conservation Plan Significance
Heide wasoriginally partoffarm allotments 25 and 26 at Bulleen purchased in the 1840s by one-time MLA Sidney Ricardo from Campbell's Carlton Estate. Ricardo sold in the 1870s to Thomas J Dowd, farmer, whose house, which is recorded in the 1875Shire of Bulleen Rate Books, may have been incorporated into the Heide I farmhouse. James and William Langwere the occupiers of this building in 1889 and its owners from 1893.
Theexisting weatherboard house at Heide l is a singlestorey building distinguished by its externally applied classical details including timber pilasters to the wallsand elaborate timber mouldingsaround the bay windows. Unusually the house is entered by a central gabled porch. Thehouse was modified in the 20th century during the Reed ownership.
/n1934 the property was acquired by the Reeds. John Reedwas a Melbourne solicitor. Both heand his wife Sunday Reed (nee Baillieu) came from wealthyfamilies and possessed the means and liberality ofvision to appreciate and encourage the modern art movement. Heide became one ofa smallnumberoffocal pointsaroundMelbourne for discussions concerning and experimentation in thearts. Among those who spent some of theirearly formative years living and workingin the congenial and supportive rural environment provided by the Reeds were such notables as Sir Sidney Nolan, Arthur Boyd, Sam Atyeo, Albert Tucker andJoy Hester. Thehouse still reflects some of the atmosphere of this era.
When John and Sunday Reedbought the property in 1934 it was a rundown dairy farm. Remnants of the earlier planting remain along the Templestowe Road frontage and afine stand of oldredgums on a "Streetonesque bend in the river", just 400 metres downstream from where Arthur Streeton, Tom Roberts and Charles Conder camped and painted.
Heide I is notable also for itsfine garden setting, which includes a walled "heart" garden, an outstanding rose collection and kitchen garden.
Future plans for the property will reuniteHeide l and II into a total complex in which the development of both buildings, their surroundinggarden landscapes and outdoor artworks can befully appreciated.
The extent of registration for Heide I includes the whole of the Heide I building and the whole of the land in Volume 9447 Folio 180.
10 Heide I Conservation Plan Conservation Policy
4.0 CONSERVATION POLICY
This Statement of Significance indicates that it is the total period of Reed occupation of Heide I which is important. This is essentially the period 1934 to 1968 when they moved to Heide II, as although they lived in the house again in 1980/81, they apparently viewed this as a temporary arrangement. The property should therefore be conserved with the significance of that period in mind. The areas and elements identified below as being of primary significance relate to this period.
4.1 Significant Areas and Elements
The house is substantially intact. Many alterations were made internally and externally but, given the significant events surrounding the physical changes in the house, the overall integrity of the building is well maintained.
Considerable research is required to establish what parts of the garden and planting belong to the 'exotic' period of John and Sunday Reed's occupation, ie. pre-mid 1960s. The later period of their occupation demonstrates their change of heart about the introduction of exotics and is significant in that respect.
The following headings describes the various levels of contribution that each of the internal and external components of the building make as a whole:
Primary Significance Items and structures of exceptional heritage value, to be retained and conserved. Conservation action to include: maintenance, preservation, restoration and reconstruction.
Secondary Significance Items and structures of considerable heritage value, to be retained and conserved. Conservation action as appropriate: Maintenance, preservation, restoration, reconstruction and adaptation. Contributory Significance Items and structures of some heritage value, should generally be retained and conserved. When an action may recover the overall heritage significance of the site a major adaptation or removal may be considered.
Neutral Items and structures of slight heritage value which may be retained or removed.
11 Heide I Conservation Plan Conservation Policy
Intrusive Items or structures which impair the heritage value of the site and should be removed or converted to a less intrusive form.
The distribution of the various areas of significance of Heide 1 are shown on the Level of Significance Plan and are listed below.
External Fabric & Areas
Building Description The building is a one storey building along the west and south elevations with a boiler room accommodated below the laundry along the east and north facing facades. The original building was a typical Victorian home with a central corridor dividing the living areas from the sleeping areas. The original kitchen outbuilding was later connected to the main house, by the enclosure of the external verandah (now a sunroom). Refer also to the chronology of the building (Appendix 1)
Accommodation to Heide 1 consists of: - bedroom 1 - bedroom 2 (Sunday's bedroom) - en-suite to bedroom 2 - living room - dining room - corridor - bathroom -Iinen room - sunroom - kitchen - larderIlaundry - boiler space (under the laundry) - toilet (under the laundry)
External Fabric Externally the fabric is of primary significance.
All external facades of the building have been extended or altered over the years. However, the overall integrity of the house has been maintained. The slate roof of the main building has been replaced with corrugated galvanised iron roofing. Existing rainwater goods along the south, east and north facades of the main house are in keeping with the overall appearance of the building. Gutters and downpipes used in the later additions are current with the date of construction of these extensions. External openings in Sunday's bedroom
12 Heide I Conservation Plan Conservation Policy
and the sunroom altered in 1954, are also sympathetic to the overall design of the house.
Internal Fabric
Despite the many alterations, the internal fabric is of primary significance.
Alterations include:
Sunday Reed's Bedroom (Bedroom 2) An en-suite and walk-in-robe were added along the south side of the building, adjacent to Bedroom 2. Bedroom 2 was originally two separate bedrooms. The wall between the two bedrooms was removed in 1954, the windows were replaced with doors and an internal door allowing access into one of the two separate rooms was removed. A floral wall paper was applied c. 1954 when the two bedrooms were made into one room.
Bedroom 1 Bedroom 1 has been re-painted since the period of John and Sunday Reed's pre-1968 occupation. The present brown paint dates from Sweeney's period. Some furniture found in this room belonged to the Reed family (refer to photo 4).
Living Room New bookshelves were constructed in 1954. The paint finish has also been altered over the years. Nolan's ochre finish was over-painted white during the 1954 works, and the existing brown paint dates from Sweeney's occupation c.1970.
Photographs of this room c. 1940s indicate that the living room floor was then bare boards. The present carpet dates from c.1970. Some furnishings now in this room are evident in these photographs.
Dining Room The dining room has also undergone changes in the form of new bookshelves (c.1970), a new door opening along the north wall, replacing a window, and carpet (c.1970).
Corridor Floor finishes in the original section of the Victorian home may have been uncovered timber boards. However photo 10 indicates that carpet was laid
13 Heide I Conservation Plan Conservation Policy
along the corridor (c. 1940s). The rose-patterned etched glass in the sidelights to the front door were designed by Joy Hester c. 1954.27
Rear Rooms The rear sections of the house have undergone several alterations over the years. The bathroom has been fitted with a new basin and toilet. Door and window fittings and finishes have also been altered. The kitchen, laundry and larder still show evidence of earlier finishes such as the chimney and stove in the kitchen and the cupboard (although relocated) in the larder. The over-mantel tiles in the kitchen were painted by Mary Boyd/Perceval." The sunroom has also undergone several alterations, with the existing layout and finishes completed in 1954.
Primary Significance: The bedrooms, the bathroom, the corridor, the living room, the dining room, the linen room, the kitchen, the sunroom and the larder.
Secondary Significance The en-suite.
Outbuildings
The Former Dairy/Dolls House
Of primary significance
The Bungalow
Neutral (post-dates John and Sunday Reeds' pre-1968 occupation)
The Car Shed
Neutral (post-dates John and Sunday Reed's pre-1968 occupation)
4.2 Fabric and Setting
Setting
Heide I forms part of the Museum of Modern Art property. It is separated from Heide II by a two metre high fence surrounding most of Heide I's property perimeter. The well established surrounding grounds are a significant element of the property.
27 Jean Langley, conversation 09.04.'97
28 Jean Langley, conversation 09.04.'97
14 Heide I Conservation Plan Conservation Policy
There are no original plans to indicate the extent of garden layout or grounds. However, there are many descriptions of the garden in correspondence etc. which assist in the understanding of Heide I's immediate landscape."
The setting of Heide I is of primary significance, with the greatest significance being attached to the period up to 1968, when John and Sunday moved to Heide II.
The proposal for the garden is that it will be maintained in its present structure and with its present character. Areas of the garden which are considerably degraded through lack of maintenance will be replanted and restored, using species which are appropriate to the specific position in the garden, the aesthetics of the garden as a whole, and in keeping with the period up to 1968. The elements such as the low brick wall along the driveway and the fish pond, both added during Barrett Reid's occupation, while not particularly appropriate will be retained for the time being.
The second kitchen garden will be retained in a token form only, as Sunday's third kitchen garden located in the grOlmds of Heide II is fully maintained.
The paling fence between the two properties will be replaced with a hedge, in order to reinforce the presence of the lines of Osage Orange trees which run either side of the fence.
Fabric
External
Galvanised Iron Roof, Roof Plumbing & Brick/Rendered Chimneys
The original slate roof was replaced with galvanised iron roofing, probably in the 1930s. The roof will require to be cleaned removing any lichen. There is evidence of internal water penetrations along the north-east entrance. This problem will need to be addressed in the near future. Allow about 30 to 40% replacement of the galvanised iron sheeting.
All roof plumbing is either painted galvanised iron (quad) or zincalume. Allow for re-painting of these elements.
All lead flashing around chimneys will need to be checked.
29 Correspondence, John and Sunday Reed Papers, Australian Manuscript Collection, State Library of Victoria.
15 Heide I Conseruaiion Plan Conservation Policy
Three brick chimneys will need to be repointed and render repaired.
Recommendations Clean (100%) and repair (40%) the galvanised iron roofing, gutters and downpipes. Re-paint all gutters and downpipes. Check all lead flashings and replace as required. All new joints (associated with the lead flashings) around chimneys must be repointed. Repair (50%) and re-paint (100%) eaves and timber fascias/scotias. Render repair and repoint chimneys (60%).
Slate Roof Slates over the bay window and the portico roof at the front of the house are generally in good condition.
Recommendations Clean and repair any broken slates. Allow 20% replacement of the overall area. These works are not urgent but will need to be addressed if the building is to be maintained watertight.
Timber Walls Overgrown vegetation will need to be removed from most walls before repair work and painting can be undertaken. Although most walls appear to be in fair condition, allowance must be made for a large replacement of timber boards and re-painting of all wall surfaces.
Recommendations Replacement of 30% of timber boards and 100% of re-painting of these walls will need be addressed fairly urgently. Regular maintenance of these surfaces will also need to be undertaken to ensure longevity of the building.
Painted timber windows, doors and other elements Most external joinery is in need of care and maintenance. Timber fascias and scotias should be repaired and re-painted (refer to roof section, above). All doors, windows, portico elements and other decorative features will need to be repaired and painted.
Recommendations Repair (60%) and painting of (100%) timber surfaces will need to be addressed in the very near future.
Disabled Access Addressing this issue will depend on the use of the building.
16 Heide I Conservation Plan Conservation Policy
Recommendation None
Internal
Ceilings Most of the ceiling are painted lath and plaster finish with decorative plaster cornices and roses. Re-painting will be required in the near future.
Recommendations Re-paint 100% of ceiling surfaces.
Walls Most walls are painted lath and plaster. Sunday's bedroom has a floral wall paper and the linen room has a painted timber horizontally-boarded wall lining. The bathrooms are either painted or tiled and the kitchen stove mantlepiece has decorative tiles painted by Mary Boyd/Perceval.
Corner sections of the bedroom and living rooms walls (adjacent to the corridor) are cracking. The underside of the floor area, along these walls, will need to be inspected and rectified as soon as practicable.
Recommendations Repair cracks, once the sub-floor has been re-stumped. Re-paint all lath and plaster surfaces. Re-painting of internal surfaces must conform to an agreed decorative scheme as stated in the conservation policy.
Floors Most timber floors have a carpet finish. The bathroom, sunroom and kitchen floors are tiled. The laundry has a vinyl floor covering.
Recommendations Replace carpet throughout.
Joinery & Furniture There are several 1954 in-built bookshelves and cupboards. The cupboard located in the larder was re-located in 1954. They are all in reasonable condition.
All skirtings, doors and windows will require painting as part of their maintenance work.
Recommendations No immediate work is recommended for any of the furniture. Re-painting of windows, doors and skirtings will be required.
17 Heide I Conservation Plan ConservationPolicy
Glazing The patterned glazing by Joy Hester in the side lights of the front door is in very good condition. The remaining glass is modern type glass which is also in good condition.
Recommendations None
Fireplaces & Heating All surrounding mantlepieces are painted timber in need of general maintenance painting. The fireplaces are in need of cleaning.
Almost every room has hydronic type heating coils installed in it. Museum of Modern Art has indicated that the heating was tested in the past and was found to be too expensive to run. There may be leaks or lack of insulation along the water pipe.
Recommendations (As part of the final draft of this conservation plan, a Mechanical Engineer will be engaged to provide a report, estimate and recommendation).
Internal Ventilation Internal ventilation is provided by natural means, such as doors and windows.
Sanitary Plumbing Not all sanitary units are in working order. These will need to be inspected and rectified (regardless of the future use of the building). All sanitary plumbing will need to be cleaned or cleared, as required. All fixtures will need to be checked to ensure they work. Re-grouting of tiles in the en-suite bathroom will be required.
Recommendations All plumbing works will need to be completed as part of the restoration works. (As part of the final draft of this conservation plan, an Civil! Hydraulics Engineer's report, estimates and recommendation will be sought).
Water Services The water service will need to be checked.
Recommendations (As part of the final draft of this conservation plan, a Civil/ Hydraulics Engineer's report, estimates and recommendation will be sought).
18 Heide I Conservation Plan Conservation Policy
Electrical and Lighting There are many types of light fittings installed throughout the house (refer to photo 11). The conservation policy will determine the extent of works required to remove existng spotlight fittings, re-instate 1950s fittings or leave existing fittings.
Recommendations Ensure that the wiring is within regulations. Replace/remove fixtures only in accordance with the conservation policy.
Fire Protection Currently there are no fire protection or security devices installed in the building. The future use of the building will determine the extent of works required under this heading.
Recommendations None
4.3 Future Development
The form of the house should be preserved on all sides. The garden should not be sacrificed for any new structures. However consideration could be given to removing the car shed and the bungalow, or redeveloping them if required.
4.4 Use
The most recent use of Heide 1 has been as a residence. It still contains some furniture and former possessions of John and Sunday Reed. The Reed artefacts are essential elements in the narration of the history of this house.
Criteria for uses other than as dwelling are guided by the nature of the significance of the building and garden as follows:
• Significance as the former residence of John and Sunday Reed, in so far as it demonstrates their occupation and the artistic and literary associations with that occupation. • Significance as a personal paradeisos, a 20th century romantic demesne harking back to earlier models of the idealised country estate • Significance as an aesthetic creation exhibiting a diversity of features.
Criteria for determining uses compatible with the retention of significance of Heide 1 are therefore:
19 Heide I Conservation Plan Conservation Policy
• Use which enables retention of the 1954 room layout. • Use which maintains the setting and fabric.
The building should also retain the hierarchy of the significance of the areas as listed in section 4.1.
At least four options have been suggested previously for the use of Heide I, all of which could allow public access and presentation as above:
1 Accommodation for a writer in residence.
2 A Resource Centre for artists and writers.
3 A House Museum, including furniture, objects and paintings, set 111 the garden as it was between 1954 and 1968.
4 An Art Museum for special exhibitions.
The first is probably the most intrusive, in that some flexibility would be required in allowing people to live in the house. However provided the right person was appointed, staff costs would be minimal. The second use would require staff supervision. The third would enable the house to be preserved but would require staff supervision, environmental control and security for objects and paintings. The fourth option would also require staff supervision, environmental control and high security. All four options require investigation and feasibility studies. It is hard to see that any would generate sufficient funds to pay staff and cover ongoing maintenance, although the House Museum might, if well-marketed and on all the tour bus itineraries. The National Trust should have useful statistics.
A fifth option is to use the house as a function centre for weddings etc. This may be a use which could contribute financially to support the house in its own right, rather than as part of the Museum of Modern Art. However the house and garden together are a very fragile piece of heritage - such a use would require extreme care and is not recommended.
4.5 Presentation and Interpretation
The House
Given that John and Sunday Reed moved to Heide II in 1968, returning to Heide I for less than two years before they died in 1981, and given the visual changes made by their adopted son Sweeney during his occupation in the
20 Heide I Conservation Plan Conservation Policy
intervening period, it does not seem appropriate to present the house as it was when John and Sunday died. John was ill during the last two years and they apparently made no attempt to renovate the house. Rather they talked of acquiring a new property on the Mornington Peninsular and building a house with a view of the sea. (Jean Langley to S. Balderstone, 9 April.1997).
The visual changes made to the house by Sweeney were major - the library and front bedroom walls were painted brown, and a brown shag-pile carpet was laid throughout. New cupboards were installed in the kitchen and dining room. He also fenced across the "heart" garden, cutting it off from the drive with a fence of horizontal sawn boards, stained brown. These changes were typical of the 1970s trends in interior design and fencing, and certainly demonstrate Sweeney's period of occupation of Heide 1.
However since the significance of Heide lies in the association with John and Sunday Reed, it is proposed that the house should be presented as it was before they moved to Heide II, during the period (1954-68) of consolidation of their modern art interests, the revival of the Contemporary Art Society and the establishment of the Museum of Modern Art. This means that the finishes in the house which existed prior to Sweeney's alterations should be reinstated. Jean Langley has helped with her memories of how the house was finished and in what colours, and her information has been supplemented by taking paint scrapes. For instance the passage walls were painted grey-blue green, there was a blue carpet, probably throughout (which was taken up and given to Jean Langley to carpet her house when the brown carpet was laid at Heide), the walls in the front bedroom were blue-green, the library walls were white and the dining room walls were a light stone colour. The wall paper in Sunday's room dates from the 1954 alterations to that room, and all woodwork was painted white.
Not many pieces of furniture remain from that period, but Jean Langley has generously offered to give back small objects which she inherited should they be required (depending on the future use of the house), and there may be others who would do the same.
The earlier story of the house, prior to the 1954 alterations should be told by means of photographs, plans and display boards, or perhaps a video of past visitors reminiscing. A section of the brilliant ochre colour painted by Nolan could be exposed beneath the 1954 paintwork, as could a section of his Mediterranean pink on the exterior.
The Garden
Presentation of the garden as it was in the 1954-68 period is more problematic. Barrett Reid's pool has compromised the rear and he also placed
21 Heide I Conservation Plan Conservation Policy
urns or other objects at the ends or junctions of paths to close vistas, and planted borders in the wild garden. Sweeney planted natives and introduced a slightly oriental flavour to the heart garden by planting bamboo. John and Sunday by the late 1960s regretted that they had planted so many exotics and by then were concentrating exclusively on natives.
However it was the romantic European garden surrounding the 'French cottage' which caught the imagination of many who visited Heide I. Joy Hester and others in their letters make many references to the violet tunnel, the roses, the lavender etc. and it seems important to capture still the European garden which existed before the Reeds had their change of heart about exotics.
4.6 Management
Heide 1 is currently owned and managed by the Museum of Modern Art. It is understood that this conservation plan will be implemented by the Board of the Museum of Modern Art.
4.7 Heritage Permits Exemptions
It is recommended that the following permit exemptions apply: • Works in accordance with this Conservation Plan • Works which are in areas of contributory significance or lesser significance which do not entail structural alterations to the original walls or removal of original finishes and which do not affect the external appearance of the building or areas of primary significance. Refer to section 4.1 for the extent of significance.
The permit exemptions should be agreed with Heritage Victoria and confirmed in writing.
22 Heide IConservation Plan Conservation Action
5.0 CONSERVATION ACTION
5.1 Statutory Protection
Heide I is listed on the Victorian Heritage Register and protected under the Heritage Act 1995. Heide I should remain on the Heritage Register.
Heide I should continue to be protected under the Manningham Council Planning Scheme.
5.2 Prioritised Schedule of Works and Estimates
5.2.1 Maintenance Plan The works have been subdivided in immediate (0-2 years), short term (2-5 years) and long term (within 5 years):
Immediate (0-2 years) Approximate Costs
External Clean Galvanised Iron Roofing 60% $ 2,010.00 Repair Galvanised Iron Roofing 40% $ 5,760.00 Internal Re-paint ceilings 100% $ 6,860.00 Re-stumping of floor $ 1,410.00 Remove/relay floorboards and 30% $ 1,670.00 23 Heide I Conservation Pla n Conservation Action repla cement of floorboards Repair cracks and re-paint walls 100% $21,010.00 including skirtings Re-paint internal joinery $ 2,500.00 Replace carpet $ 9,990.00 Replace vinyl $1,040.00 Re-paint all fireplaces $ 500.00 Repair heating Subject to Engineer's Report Checking/repairing water service Subject to Engineer's Report Check/repair internal plumbing $750.00 Clean and re-grout tiles in bathroom $980.00 Re-instate sympathetic light fittings $4,250.00 Sub-total of internal essential works $50,960.00 ($4,810.00 essential) (not complete - subject to engineer's report) ShortTerm- (25- years) Security $ 7,500.00 Repair slate roofs $ 830.00 Repair furniture/bookshelves $12,000.00 Long Term Provide regular maintenance to $1200.00/12 months clearing of downpipes, stormwater drainage and internal plumbing (6 monthly interval) Add 25% to all prices for contract contingency, escalation, professional fees and design contingency. 5.3 Financial and Technical Assistance Financial The main source of financial assistance for historic government-owned buildings apart from the departmental works and services allocations is the Public Heritage Prograrrune, administered by Heritage Victoria. This program has a budget of $15 million over three years. Government departments and agencies are invited to apply for funds for specific restoration projects. The building must be included on the Victorian Heritage Register or be protected under a local planning scheme 24 Heide I Conservation Plan Conservation Action Technical Technical assistance is available through both the public and private sector: • Heritage Victoria, Level 22, 80 Collins Street, Melbourne, Vic. 3000. Telephone: (03) 9655 6519 Fax: (03) 9655 9720 A list of consultants can be obtained through Heritage Victoria. 25 Heide I Conservation Plan Illustrations List of Illustrations Figure 1 Copy of Certificate of Title 27 Figure 2 Copies of 1954 Drawing - Plan 28 Figure 3 Level of Significance Plan 29 Figure 4 Pre 1934 layout of Heide I 30 Figure 5 1934 to 1954 layout of Heide I 31 Figure 6 1954 & current layout of Heide I 32 Figure 7 Diagrammatic Garden Layout 33 Figure 8 Photo 1- West Elevation 34 Figure 9 Photo 2 - Sunday Reed's Bedroom 34 Figure 10 Photo 3 - Sunday Reed's Bedroom 35 Figure 11 Photo 4 - Bedroom 1 35 Figure 12 Photo 5 - Living Room 36 Figure 13 Photo 6 - Living Room 36 Figure 14 Photo 7 - Living Room 1940s 37 Figure 15 Photo 8 - Dining Room 38 Figure 16 Photo 9 - Dining Room 39 Figure 17 Photo 10 - Corridor 1940s 40 Figure 18 Photo 11 -Dining Room 41 26 Heide I Conservation Plan Illustrations y - Yall ow P .. Purpl. CH - C,on PHOTO COpy SUPPL.IED I OR - Brow n a .. Ora nge Hllched G - Qnen H - Halc hed 22 lir.R lD3s i ~ · VOL9447 F01S0 i UNDER THE " TRANSFER OF LAND ACT" ASSETS PROPRIETARY LIMITED whose address 18 at the ottice ot Smith Chartered Accountant 22nd Level 535 Bourke Street Melbourne is the proprietor ot an estate in tee simple subject to the encumbrances notitied hereunder in all that piece ot land in the -- Pa rish ot Bulleen County ot Bourke being part ot Unwin I s Crown Special Survey which land is shown enclosed by co ntinUous lines on the map hereon - I- I DATED the 6th day ot July 1981 I I•I Auislanl Rt:gisltcu 01 TidrJ ENCUMBRANCES REFERRED TO t , • . ~I Derived trom Vol. 5930 Fol.948 J532123 - ' Figure 1 Certificate of Title 27 Heide I Conservation Plan Illustrations ! z '- 2 " l~ ~ ~ % I 0 ~ I N ~ , 0 ~g i '" ·~ . ~Q\J ~ :~ ... oj;' :::Z 0_=':- , " - ...... , z ]. -~ "'~ ~ :! -...... Q ol ~%: I D • u :; ,[ z . 2IJ ~ / Z ·•~ < g• ;L ,[ 0 ~ ! I: i ! 5 z I . \) ii \ Ii -=~ \ ::: Ii, ~ \ "Tl .( !I ! Z I =1 · 0 :I: t i L~~~ ::> \ o '" Ii 1 nI , :- --- l - - ~ \ pcqj z -o \ t- \ P~ ~--i l o{ 1\ ! > ~ ~LJ ~ ~ I( d .1 t- I I \ I ;::- 1 : $ ~. : ·_~LJ~ i ,:. I I ._ _ . i ' \ -. - _1. «.... :·---d . Cl , 'L--- '- Z i i i I I ; .. :\ Figure 2 Copy of 1954 Drawing - Plan 28 Illustrations Heide I Conservation Plan -I .E3 Primary Significance - .',. .l( Secondary Significance "0"...... Figure 3 Level of Significance Plan 29 Heide I Conservation Plan Illustrations ~ I Figure 4 Pre 1934 layout of Heide I 30 Heide I Conservation Plan Illustrations ,I I I I I ~ I I I I I --/ " I ' --.------T~-L (~w~ L~ ~0'Ie. ~ Figure 5 1934 to 19541ayout of Heide I 31 Heide I Conservation Plan Illustrations Figure 6 1954 & current layout of Heide I 32 Heide I ConseruatiIOn PIan Illustrations . Figure 7 Diagramane Garden Layout 33 Heide I Conseroaiion Plan Illustrations Figure 8 - Photo 1 West Elevation Figure 9 - Photo 2 Sunday Reed's Bedroom showing external door, fireplace/mantlepiece and floral wallpaper 34 Heide I Conservation Plan Illustrations Figure 10 - Photo 3 English Style Dressing Table (c1800) and detail of floral wallpaper in Sunday Reed's Bedroom Figure 11 - Photo 4 Chest of Drawers - Bedroom 1 35 Heide I Conservation Plan Illustrations Figure 12 - Photo 5 Living Room - bookshelves Figure 13- Photo 6 Living Room - Furniture 36 Heide I Conservation Plan Illustrations Figure 14 - Photo 7 Living Room 1940s Photo (Albert Tucker's Collection) 37 Heide I Conservation Plan Illustrations Figure 15 - Photo 8 Dining Room - Bookshelves 38 Heide I Conservation Pum Illustrations Figure 16 - Photo 9 Dining Room showing door into sunroom (previously a window) 39 Heide I Conservation Plan Illustrations Figure 17 - Photo 10 Corridor 19408 (Albert Tucker's Collection) 40 Heide I Conservation Plan Illustrations Figure 18 - Photo 11 Dining Room - Ceiling detail showing light fittings 41 Heide I Conservation Plan Bibliography Bibliography Bellamy, Louise. 'Avant-garde Naturel'. Age (Melbourne). 10 March 1990, Arts Extra p.9. Burke, [anine (ed.) Dear Sun: The Letters of Joy Hester and Sunday Reed. Port Melbourne, Heinemann, 1995. Byrne, Jennifer. 'The Modernist Push'. Age (Melbourne). 9 and 16 February 1980. 'From Kew to Heidelberg'. Illustrated AustralianNews., February 1890. Guest, Sarah. 'A Matter of Timing'. Age (Melbourne), 7 January 1995 p. 12. Haese, Richard. Rebels and Precursors: TheRevolutionary Years of Australian Art.. 2nd ed. Ringwood, Vic., Penguin Books, 1988. 'Heide II' Doncaster-Templestowe Historical Society Newsletter. November 1979, p. 1 2. 'Heide II, Reed House, Templestowe Road, Bulllen, Victoria. Architect David McGlashan'. Trust News, June 1990, p. 18 John and Sunday Reed Papers, Australian Manuscript Collection, State Library of Victoria. Keogh, Graham. History of Doncaster and Templestowe. Doncaster, City of Doncaster and Templestowe, 1975. Latreille, Anne. 'Two Heides for the Price of One'. Age (Melbourne), 13 November 1990. Leaney, Judith. Bulleen : A Short History. Illustrated by Irvine Green Donvale, Vic., Doncaster-Templestowe Historical Society, 1991. Lees, Stella and June Senyard. The 1950s ... How Australia became a Modern Society and Everyone got a Houseand Car. South Yarra, Vic., Hyland House, 1987. Morgan, Diana' AVery Special Place : Heide Park and Art Gallery'. Australian Garden Journal. Pp. 58-59. Riddell, Elizabeth.' Reid Unravels the Reeds'. Bulletin (Sydney) 16 February 1988 pp. 41-3 ['Heide'] Country Style, November 1994. Pp. 78-81. 42 Heide I Conservation Plan Appendix 1 Appendixl Chronology 43 Heide I Conservation Plan Appendix 1 Chronology 1934 House bought by Reeds - "a modest weatherboard house, originally a dairy farm, set in fifteen acres of bush and river flats at Heidelberg near the Yarra River, soon known as Heide"29 Assumed alterations made include removal of verandah'", new slate roofs to bay windows, blocking up of fanlight to front door to accommodate new portico to front door. Also perhaps addition of lean-to to rear of kitchen. According to [anine Burke?'. they "remodelled the house, adding a modern bathroom and kitchen, along with extensive bookshelves. They also began an ambitious gardening program. Birches, willows, lindens, poplars, walnuts, golden ash, oaks, alders and larches were among the first trees planted. A vegetable garden was started and masses of flowers were planted too." 1936 Neil Douglas began working in the garden" 1938 Nolan arrived at Heide 1939 Albert Tucker introduced Joy Hester to Sunday Reed at the Herald Exhibition of French and British Painting'" ?1939-1946 Contemporary Art Society, Angry Penguins, Reed & Harris publishing company c1940?Three photographs of rear exterior of house: 1 John Reed on timber steps, shows floor boards coming through and verandah post to left of door. Suggestion of a mosaic tiled bench inside the windows. Wide paved brick path along facade. 2 Sunday Reed on timber steps, shows original sunroom fenestration of built-in verandah and side door to laundry lean-to. Fenestration suggests that the sunroom may have formerly been the kitchen ( non original horizontal window) with a small room next door having its 29 [anine Burke Dear Sun, p .l0. 30 Confirmed in [anine Burke's interview with Neil Douglas, 1996: "It had a verandah right around it with iron lace. Sunday tore it down because she wanted it to look like a little French cottage." 31 Ianine Burke Dear Sun, p.l0. 32 Neil Douglas interviewed by [anine Burke. 1996. 33 [anine Burke Dear Sun, p.6 44 Heide I Conservation Plan Appendix 1 own double hung window. (Perhaps this was the Maid's Room). Double hung windows have hoods with awning blinds. (West facade) 3 Full view of west facade shows main roofs above the built-in verandah. It shows that the verandah was built in right to the corner so extended beyond the house to the south. Vent indicates that there was already an internal toilet in the bathroom c1940?Interior photographs 1 Sitting Room. Group induding Sunday, John, Nolan, Joy Tucker and Tucker? Shows bare board floor, bookshelves, not the same as the ones there now, mantel piece as existing, and knick-knacks on the mantel. No fire grate. Possibly the sofa and armchairs (curved) as existing, but not the one John Reed has his foot on. From Tucker, used in Dear Sun 2 Dining Room. Shows table Nolan used to paint on and four turned spindle-backed chairs none of which still there, mantel piece as exists, no fire grate. Book shelves on left side of fireplace now replaced. Vertical shelving beneath bench height. Sideboard/cupboard not found. Nolan painting propped up on mantel piece. 3 Passage. Shows fanlight gone, curtains over sidelights, therefore pre dates Joy's etched glass roses. The two chest of drawers in the foreground of this picture are still in the house. Shows the second bedroom door, now removed. Narrow loom Wilton type carpet, plain, light tone. 1942 Joy stayed at Heide while Tucker was in the army." (Nolan was also in the army). Joy and Tucker were married in January, 1941 1945 Sweeney born (Feb.l5 1946 Reed & Harris publishing company collapsed. John then worked at home in the garden with Sunday for the next ten years." c1946 Picture of group around table in dining roorrr" shows window at the west end where there is now a door 34 Ibid p.7 35 Ibid. p.20 36 Ibid. pAl 37 Haese p. 48 Christmas at Heide with Sidney Nolan, Sunday Reed, John Sinclair and John Reed 45 Heide I Conservation Plan Appendix 1 1947 Joy left for Sydney in April, with Gray Smith, abandoning Tucker and Sweeney". Letters to Sunday from Joy ask after the garden and refer to 'the violet tunnel' - a long drainage trench planted out with violets": also to geraniums'", daphne and lavender". 1947 Nolan left in July, got to Sydney later in year. 1947 Ref. to wild garden "heavy with the scent of magnolias" 1948 Ref to willows in the river'" Ref to chooks' house at Heide44 Neil Douglas worked on the garden at Heide with Sunday'" 1948 Nolan married Cynthia Reed (John's sister) in March. Joy and Gray returned to stay at Heide and were there when Nolan and Cynthia visited Heide to make peace with Sunday and John the day after their marriage. 1948 -1949 Reeds visited London(August) and took the Kelly series. (Who looked after Heide while they were away?) 1951 Ref. to starting a nursery" - first bed of irises in front of the old southernwood hedge in the veg. garden - plan to fill that whole rather dry area. Ref to boxthorn hedge dividing the hens from the ducks. Ref to Heide as a" big secret garden behind the hollies - in the middle of a strange suburb" Ref to trees at Heide - hawthorn, laurels, spindles, oaks, hollies, persimmon; and garden plants - herbs, roses, daisies" Ref to blue speedwells" 38 Burke, p.23 39 Burke, p.79 40 Burke, p.64 41 Burke, p.96 42 Burke, p.124 43 Burke, p.139 44 Burke, p.145 45 Burke, p.168 46 Burke, p.232 47 Burke, p.233 48 Burke, p.236 49 Ibid. p.238 46 Heide I Conservation Plan Appendix 1 1952 Red gravel paths put in at Heide'" Packing up [in preparation for renovations ]51 Reference to Freeman architect. Ref to grassing over the old rose bed because of concerns about snakes. (Mrs. Lang had nothing but a pepper tree)52 1952-1955 Ern Malley's Journal 1953 Contemporary Art Society revived.P Ref to the dolls house - an outhouse in the garden near the milking shed. Paintings were stored there." 1954 Plans show door already existing between dining room and sunroom, new glazed screen to sunroom (possibly brought from elsewhere as the bottom seems to have been built up, and the double hung sashes modified), a new ceiling to the sunroom, and new timber steps and landing to the garden; removal of wall dividing what became Sunday's bedroom (rose wall paper) and replacement of windows with double doors to garden, shows existing door through west wall, (previously to a smaller room), step down to new dressing room and en suite bathroom and clothes closet, blocking up of former door between passage and former middle bedroom, new double doors to east side of sunroom, relocation of existing windows to old bathroom and new dressing room. It appears that existing windows from the former two bedrooms plus the one from the sunroom, were relocated as part of this work. A boiler was installed to serve hot water radiators throughout. The laundry lean-to was altered to accommodate the boiler, including replacement of the former side door (seen in photographr" with a window and a new door on the west side. A toilet was provided between the laundry and new boiler room. Bookshelves in the sitting room were rebuilt and extended and new bookshelves built in the front bedroom. Small benches were added to the kitchen and laundry. The wall between the kitchen and Laundry was removed and a new beam installed to support the roof, allowing the laundry and larder to become one large space. A new cupboard was added to the kitchen and a wood box just 50 Ibid, p.241 51 Ibid. p252 52 Ibid, p.248 53 Ibid. p.4l 54 Ibid. p.252 55 Albert Tucker's collection - 3 phots of rear of house - No.1 above 47 Heide I Conservation Plan Appendix 1 outside in the Sunroom. A rubbish chute was provided from the kitchen to the boiler room. An existing cupboard was relocated to the larder. The library (sitting room) walls had been painted a brilliant ochre by Nolan - these were re-painted and new shelves designed and fitted." Ref. to plum trees" 1956 Gallery of Contemporary Art 1958 - 1965 John Director of Museum of Modern Art 1960 Joy Hester died." 1966 Heide II commissioned. John Reed ordered eucaplypts and natives from Eastern Park Nursery, Geelong. 1967 John Reed wrote to JH Williams Esq at the National Herbarium: "we now very much regret that we originally adopted the policy of planting exotics - many hundreds of them - and it is only comparatively recently that we have concentrated exclusively on natives. Now with further experience, we would like to establish as far as possible, the flora which was indigenous to this particular area." 1968-1980 John and Sunday lived at Heide II 1966-1979 Sweeney lived at Heide I 1969 Sweeney married Pamela Westh. 1977 Nolan contacted the Reeds 1978 Nolan married Mary Boyd 1979 Sweeney committed suicide 1980 John and Sunday moved back into Heide I 1981 John and Sunday died (December) 56 Burke, p.250 57 Burke, p.254 58 Burke, p.34 48 Heide I Conservation Plan Appendix 1 1981-1995 Barrett Reid lived at Heide I (died 6 August 1995) 1995-1996 Heide I empty 1996 John Brereton there 49 Heide I Conservation Plan Appendix 2 Appendix 2 Room Survey 50 Heide I Conservation Plan Appendix 2 Room Survey AREA TYPE Room G1 ORIGINAL FUNCTION Bedroom CURRENT FUNCTION Bedroom PARTICULARS Painted joinery, including architraves, windows and doors. Original fireplace, mantlepiece and hydronic heating. Original ceiling roses and bay window. CONDITION Substantially Intact RECOMMENDATIONS Re-instate 1954 colour scheme. Replace carpet AREA TYPE Room G2 ORIGINAL FUNCTION Bedroom CURRENT FUNCTION Bedroom PARTICULARS Painted joinery, including architraves and doors (1954). Original fireplace, mantlepiece and hydronic heating. Wall paper (1954), ceilingroses and bookshelves (post 1981). CONDITION Modified RECOMMENDATIONS Preserve 1954 decorative scheme. Replace carpet. Remove unsympathetic door hardware and lighting/electrical fittings Remove bookshelves. AREA TYPE Room G3 ORIGINAL FUNCTION Living Room 51 Heide I Conservation Plan Appendix 2 CURRENT FUNCTION Living Room PARTICULARS Painted. joinery, including architraves, bay window and doors. Original fireplace, mantlepiece and hydronic heating. Bookshelves (1954) CONDITION Substantially intact RECOMMENDATIONS Re-instate 1954 colour scheme. Replace carpet. Remove spotlight fittings, air conditioning unit, and unsympathetic door hardware AREA TYPE Room G4 ORIGINAL FUNCTION Dining Room CURRENT FUNCTION Dining Room PARTICULARS Painted. joinery, including architraves, bay window and doors. Original fireplace, mantlepiece, hydronic heating. and ceiling roses. CONDITION Partly Modified RECOMMENDATIONS Re-instate 1954 colour scheme. Replace carpet. Remove spotlight fittings, and reinstate symathetic light fittings. Check hardware. AREA TYPE Room G5 ORIGINAL FUNCTION Corridor CURRENT FUNCTION Corridor PARTICULARS Painted joinery, including 52 Heide I Conservation Plan Appendix 2 architraves, entry door and side lights. with etched glass by Joy Hester. Original ceilings and ceiling roses, hydronic heating. CONDITION Partly Modified RECOMMENDATIONS Re-instate 1954 colour scheme. Replace carpet. AREA TYPE Room G6 ORIGINAL FUNCTION En-suite & WIR (Added 1954) CURRENT FUNCTION En-suite & WIR PARTICULARS Painted joinery, including architraves, windows and doors. Hydronic heating. CONDITION Modified RECOMMENDATIONS Remove wall mounted heater, stainless steel towel rail and ensure that bathroom is clean and functional AREA TYPE Room G7 ORIGINAL FUNCTION Verandah CURRENT FUNCTION Linen Cupboard PARTICULARS Painted joinery, including architraves, windows, timber panels and doors CONDITION Intact c.1954 RECOMMENDATIONS Re-instate 1954 colour scheme. 53 Heide I Conservation Plan Appendix 2 AREA TYPE Room G8 ORIGINAL FUNCTION Bathroom CURRENT FUNCTION Bathroom PARTICULARS Original bath. Painted timber joinery and sawn timber wall lining. Slate flooring c. 1970. CONDITION Substantially Modified RECOMMENDATIONS Ensure the room is functional. AREA TYPE Room G9 ORIGINAL FUNCTION External!detached Kitchen CURRENT FUNCTION Internal kitchen PARTICULARS Painted joinery, including architraves, windows and doors. Original stove surrounds and cast iron stove (Lux Foundry). Hand-painted decorative tiles by Mary Boyd/Perceval, hydronic heating. Cupboards& terra cotta tiled floor c 1970 CONDITION Modified RECOMMENDATIONS Ensure that the room is functional and retain items/elements as they exist. 54 Heide I Conservation Plan Appendix 2 AREA TYPE Room GI0 ORIGINAL FUNCTION Verandah CURRENT FUNCTION Sunroom PARTICULARS Painted joinery, including architraves,windows, doors and external columns. Terra cotta tiled floor c 1970. CONDITION Intact c 1954 except for floor covering. RECOMMENDATIONS Retain as it exists today. AREA TYPE Room Gll ORIGINAL FUNCTION Larder & Laundry CURRENT FUNCTION Laundry PARTICULARS Painted joinery, including architraves, windows and doors. Painted timber cupboard relocated 1954. Vinyl floor c 1970 CONDITION Substan tially intact c 1954. RECOMMENDATIONS Retain as it exists today. Replace floor covering. 55 Heide 1 Conservation Plan Appendix 3 Appendix 3 Maintenance Works Estimate 56 The accuracy ofthis estimate is directly dependent upon a clear understanding ofthe Schedule of Works detailed in the Maintenance Plan. Thus, while Nadia has provided a broad indication ofthe maintenance works required, there also needs to be provided further details ofthe actual amount and class of maintenance works allowed for in the estimate. It is tile supplement ofthis information that will provide the reader a more accurate and thus meaningful understanding ofthe final estimated cost of $146,790.00. Hence, please find below a list ofexclusions and inclusions that are to be read in conjunction with the estimate: IMMEDIATE (0-2 Years) Inclusions • Professional fees o Escalation • Design Contingency o Contract Contingency • Cleaning (40%) and replacement (60%) ofgalvanised roof cladding • Re-painting (100%) ofgutters and downpipes • Replacement (60%) ofchimney lead flashings • Repair (50%) and repainting (100%) offascias, barges, scotias etc. • Re-stumping including re-laying ofHallway floorboards • Re-pointing (60%) and render repair (60%) chimneys • Cleaning (100%) ofchimney stacks • Replacement (30%) and re-painting (100%) ofweatherboards walls • Repair (60%) window joinery, replacement (100%) window furniture and re-painting (100%) windows o Repair (60%) external doors • Replacement (100%) ext. & int. door hardware and re-painting (100%) ext. & int. doors • Replacement ofcarpet to bedrooms, sitting room, dining room, dressing and walk-in robe 2 ) • Replacement ofvinyl to larder and laundry • Cleaning and re-grouting offloor and wall tiles to the bathroom • Patch and paint (100%) internal plaster walls and skirtings • Repair to either side of Hallway walls • Re-painting (100%) of plaster wall and ceiling decorative items • Patch and paint (100%) plaster ceilings and cornices • Re-painting (100%) fireplaces • Repair (2 No.) toilet blockages • Servicing (8 No.) internal plumbing units • Removal (10 No.) spotlights and replacement (10 No.) sympathetic lighting fittings Exclusions • restoration/repair of wallpaper to bedroom I • hydronic heating repairs • electrical wiring repairs • major internal plumbing works • external plumbing works • structural repairs • Replacement of electrical appliances 3 SHORT TERM (2-5 Years) Inclusions • Professional fees • Escalation • Design Contingency • Contract Contingency • Cleaning (80%) and replacement (20%) of slate roof cladding • Professional fees • Escalation o Repair (100%) offixed and loose furniture • Security alarm system Exclusions • Fire protection LONG TERM (Within 5 Years) Inclusions • Servicing of gutters, downpipes and the like on a 6 monthly interval o Servicing of internal sanitary units on a 6 monthly interval Exclusions • Major regular maintenance works 4 Yours Faithfully, Danielle Parr for Building Services Agency ref: n:lgovthcotlcovlett2.doc 5 E S TI M ATES UMM ARY % --TERM A Immediate ( 0 -2 Years ) 8 1 ·4 9 1 1 9 , 61 0 ·0 0 B Short Term ( 2 - 5 Years ) 1 8 ·0 7 2 6 , 5 3 0 ·0 0 C Long Term ( Within 5 Years ) 0 ·4 4 6 5 0 ·0 0 1 4 6 , 7 9 0 ·0 0 ELEMENT S AR ALTERAT IONS & RENOVAT IONS TO EXI ST BU I LD INGS 1 0 0 ·0 0 1 4 6 , 79 0 ·0 0 1 4 6 , 79 0 ·0 0 / / ./1 / / / {'/ iJ/ , I cy / TERM A Immediate (0-2 Years) ELEMENTS 00 NOTES GENERALLY 56 Fully Enclosed Covered Area (F.E.C.A.) m2 328 GENERALLY 0.00 : ======Total for NOTES 0 .00 TERM A Immediate (0-2 Years) ELEMENTS AR ALTERATIONS & RENOVATIONS TO EXIST BUILl INGS Roofing 1 Clean galvanised iron roof cladding (60%) m2 201 10.00 2,010.00 40 Replace galvanised iron roof cladding (40%) m2 134 42.99 5,760.00 31 Re-paint gutters m 127 10.00 1,270.00 32 Re-paint downpipes m 81 10.00 810.00 33 Replace flashings to chimneys (50%) m 6 35.00 210 00 34 Repair fasciasjbargesjscortias etc (50%) m 59 27.46 1,620 00 35 Re-paint fasciasjbargesjscortias etc (100%) m 118 10.00 1,180.00 Roofing 12,860 00 Substructure 2 Re-stumping m2 38 37.11 1,410 00 3 Allow to remove & relay existing floorboards (30% floorboard replacement) m2 38 43.95 1,670 00 Substructure 3,080 00 Chimneys 4 Re-point 60% chimney brickwork m2 6 55.00 330 00 5 Repair capping render 60% chimneys m2 2 60.00 120 00 19 Clean chimney stacks No. 3 150.00 450 00 Chimneys 900.00 External Wal1 s 6 Replace 3 0 % t imber we a t he r bo ard s m2 1 3 9 6 0 ·0 0 8 , 3 40·0 0 4 2 Re-paint t imber weatherboards ( 100 %) m2 4 6 2 1 1 ·9 9 5 , 5 4 0 ·0 0 Externa1 Wa1 1 s 1 3 , 8 8 0 ·00 Windows 4 3 Re-paint windows - measured pla in faced both s ides ( 1 0 0% ) m2 149 2 0 ·00 2 , 9 80 ·00 4 5 Replace wi ndow furniture ( 100%) No· 3 2 1 5 0 ·00 4 , 800 ·00 4 4 Repair windows ( 6 0 %) m2 4 5 5 0 ·00 2 , 25 0 ·0 0 Windows 10, 030 ·00 ---Doors 9 Repair external doors ( 60%) No· 5 6 6 ·0 0 3 3 0 0 0 1 0 Re-paint internal & e xternal doo.rs ( 1 00%) m2 1 0 7 1 0 ·0 0 1 , 070 ·0 0 1 1 Replace internal s e xternal door hardware ( 1 0 0 %) No · 1 5 3 0 0 ·00 4 , 50 0 ·00 Doors 5 , 9 0 0 ·0 0 Floor Finishes 13 Replace c arpet m2 22 2 4 5 ·00 9 , 9 9 0 ·0 0 1 6 Clean and re-grout t iles in bathroom m2 1 6 2 5 ·00 4 0 0 ·0 0 22 Replace v inyl m2 2 3 4 5 · 22 1 , 040 ·00 5 5 Clean and re-grout f loor t iling m2 8 2 5 ·0 0 200 ·00 Floor Finis hes 1 1 , 6 3 0 ·00 I nternal Wal1 s 5 0 No a l lowance has been made to r epair/ restore wallpaper NT 1 1 4 Patch and re-paint internal wa 11 s ( 100 %) m2 8 7 3 1 5 ·0 1 1 3 , 100 ·0 0 5 4 Clean and re-grout wal1 t i 1 i ng m2 1 5 2 5 ·3 3 3 8 0 ·0 0 4 8 Re-paint skirtings ( 1 00% ) m 2 5 7 4 ·0 1 1 , 0 3 0 ·0 0 4 7 Repa ir c orridor p 1 a ster wa1 1 s m2 2 4 0 2 5 ·0 0 6 , 0 0 0 ·0 0 4 6 Allow t 0 re-paint decorative items I t em 5 0 0 ·0 0 I nternal Wa1 1 s 21 , 0 1 0 ·0 0 Cei 1 ings 1 7 P atc h and re-paint c e i 1 ings ( 1 0 0 %) m2 3 28 1 5 ·0 0 4 , 9 20 ·0 0 5 2 Re-paint corni c e s ( 1 0 0 %) m 2 8 7 5 ·0 2 1 , 4 4 0 ·0 0 5 1 Allow t 0 re-paint decorative items I tern 5 0 0 ·0 0 Ce i 1 ings 6 , 8 6 0 ·0 0 , F irep1 aces . f ' (:;.(.t>J.- 1 8 Re-paint f ~r 7P ' aces ~.....,..\- I nterna1 P lumbing 2 1 Repair b 1ockage to toi 1et No· 2 1 1 0 ·0 0 220 ·0 0 3 7 Clean and servi c e s anitary unit No· 8 6 6 ·2 5 5 3 0 ·0 0 I nterna 1 P1 umbi ng 7 5 0 ·0 0 Heating 23 No allowance has been made to repair hydronic heating NT 1 Heating 0 ·0 0 E1e ctr ica 1 S ervi c e s 2 6 No al1owance has been made f or minor e 1e ctri c al repairs NT 1 2 7 Remove spot 1 ight No· 1 0 7 5 ·0 0 7 5 0 ·00 2 8 I n sta 1 1 sympatheti c 1 ight f itting ( PC $6 0 0 .0 0 / no ) No 5 7 0 0 ·0 0 3 , 5 0 0 ·0 0 E1e ctri c a 1 Servi ces 4 , 2 5 0 ·0 0 : ----- ======--= Tota 1 f or ALTERAT I ONS & RENOVAT I ONS TO EXI ST BUILD INGS 9 1 , 65 0 ·0 0 Pre1 iminaries 6 , 4 2 0 ·0 0 [ 7 ·0 0 % a f 9 1 , 6 5 0 ·0 0 ] Es c alation 2 , 7 5 0 ·0 0 [ 3 ·0 0 % a f 9 1 , 6 5 0 ·0 0 ] Prof e s s iona1 Fees 1 1 , 0 0 0 ·0 0 [ 1 2 .0 0 % a f 9 1 , 6 5 0 .0 0 ] Cantract Cantingency 5 , 5 0 0 ·0 0 [ 6 ·0 0 % a f 9 1 , 6 5 0 ·0 0 ] De s ign Cantingency 2 , 2 9 0 ·0 0 [ 2 ·5 0 % a f 9 1 , 6 5 0 ·0 0 ] : ======------Tota 1 for Immedi ate ( 0 -2 Years ) 1 1 9 , 6 1 0 ·0 0 TERM B Shart Term ( 2 - 5 Years ) ELEMENTS AR ALTERAT I ONS & RENOVAT I ONS TO EXI ST BUI LI I NGS Roof ing 2 9 Rep1 ace s 1 ate roof ing ( 2 0 %) m2 3 1 8 6 ·6 7 5 6 0 ·0 0 4 1 C1e an s 1 ate roof ing ( 8 0 %) m2 9 3 0 ·0 0 2 7 0 ·0 0 Roof ing 8 3 0 0 0 Joinery 2 0 A11 ow t a repair furniture/ bookshelyes I t em 1 2 , 0 0 0 ·0 0 Joi nery 1 2 , 0 0 0 ·0 0 Fire prote ction 2 4 No a 1 lowance has been to insta 1 1 a f ire dete ction sys tern NT 1 Fire prote c t ion 0 ·0 0 Security 2 5 Ai1 ow t a instal1 s e curity a 1 arm system I t em 7 , 50 0 ·0 0 Security 7 , 50 0 0 0 , ======·== Tota 1 for ALTERATI ONS & RENOVAT I ONS TO EXI ST BU I LDI NGS 2 0 , 3 3 0 0 0 Pre1 iminaries 1 , 42 0 0 0 [ 7 ·0 0 % a f 2 0 , 3 3 0 ·0 0 ] Es c a 1 ation 6 1 0 ·00 [ 3 ·0 0 % a f 2 0 , 3 3 0 ·0 0 1 Profes s ional Fees 2 , 44 0 ·0 0 [ 1 2 .0 0 % a f 2a, 3 3 a.aa 1 Contract Cantingency 1 , 22 a·0 a [ 6 ·aa% a f 2 a, 3 3 a·aa ] De s ign Cantingency 51 a·0 0 [ 2 5 a% a f 2 a, 3 3 a a0 ] · · ======Tota 1 for Shart Term ( 2 - 5 Years ) 2 6 , 53 0 ·a0 TERM C Long Term ( Within 5 Ye a r s ) ELEMENT S AR ALTERATI ONS & RENOVAT I ONS TO EXI ST BUI LI I NGS GENERALLY 5 7 Servi c e roof plumbing includi ng gutters , downpipes a nd dra ins ( 6 month ly interva1 ) I t e m 4aa·0 0 5 8 Service internal s anitary units No . 1 a 2 5 .aa 2 5 0 ·0 0 GENERALLY 6 5 0 0 a ======· Tota 1 for ALTERATIONS & RENOVAT I ONS TO EXI ST BUI LDINGS 6 5 a·aa : ======Tota 1 f or Long Term ( Wi t h i n 5 Ye ars ) 6 5 a·0 0 : ======TOTAL 14 6 , 7 9 0 ·0 0 : ======