Robin Boyd: Design Legend
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Fooks House FN 7157
NATIONAL TRUST OF AUSTRALIA (VICTORIA) CLASSIFICATION REPORT 1. NAME OF PLACE Fooks House FN 7157 2. OTHER NAME 3. LOCATION 32 Howitt Road, Caulfield, City of Glen Eira 4. DATE 1966 5. TYPE OF PLACE House 6. LEVEL State 7. EXTENT OF DESIGNATION Entire house and contents, and landscaping. Includes garden walls, sculpture walls, pergolas, remnant original landscaping, driveway and, interior purpose built furniture, fittings and fixtures. 8. STATEMENT OF SIGNIFICANCE What is significant ? The residence at 32 Howitt Road, Caulfield was designed in 1964 (completed in 1966) by the Viennese architect and urban theorist, Dr Ernest Fooks, as his own house. This house represents the most celebrated and architecturally resolved of Fooks’ domestic designs, combining his analytical approach to planning with a stylistic interpretation of traditional Japanese architecture. Considered within the body of Fooks’ 1960’s house designs, Howitt Road epitomizes and best exemplifies premises central to Fooks’ urban theory and methodology. Fooks controlled every design aspect of his residence, including custom-designed freestanding and built-in furniture, exterior sculpture walls, landscaping and plant selection, ensuring his theoretical concerns, especially those concerning integration, achieved expression in all aspects of the environment. The end product pays testimony to the design confidence and thoroughness of Dr Fooks: high quality of workmanship, uncompromising choices of materials, and cleverly resolved details are evident throughout. Howitt Road showcases the skills of the five cabinet-makers who crafted furniture and built-ins to Fooks’ design requirements, including the respected furniture maker Shulim Krimper. All the specifically fabricated pieces remain as originally positioned in Fooks’ layout. -
5. Through Non-Military Eyes: Developing the Postwar Bilateral
5 THROUGH NON-MILITARY EYES: DEVELOPING THE POSTWAR BILATERAL RELATIONSHIP Somewhere in the vast ruin of post-nuclear Hiroshima, two middle- aged Japanese men walk towards a stationary camera (see Figure 5.1). They look purposeful and strangely cheerful. As two Australian diggers slouch back into the colossal bombsite and towards the vanishing point beneath a cluster of stripped trees, the conspicuously civilian, Western- attired Japanese duo stride out of it, moving away from the militarism that led to such wholesale destruction and into a future that would be independently determined by men such as them. The photograph is carefully conceived, staged to capture a significant point of departure in postwar Japanese history—a people leaving war and military occupation behind and embarking on the task of rebuilding and remaking the nation. Significantly, this richly allegorical image was not taken by one of the professional photographers affiliated to the military and official civilian agencies. Rather, it is the work of an amateur, Hungarian-born Stephen Kelen, who served with British Commonwealth Occupation Force (BCOF) Intelligence before joining the military newspaper British Commonwealth Occupation News (BCON). Kelen was an enthusiastic and accomplished photographer. Several of the images that illustrate his memoir, I Remember Hiroshima, have become iconic pictures of the stricken city in the early stages of its reconstruction. His photographs of orphans and of an outdoor schoolroom that had sprung up in the rubble are among the best known pictures of atomic Hiroshima, featuring in 153 PACIFIC EXPOSURES Figure 5.1. Stephen Kelen, Hiroshima, c. 1946–48, published in I Remember Hiroshima (Sydney: Hale & Iremonger, 1983), 18. -
Gillian Welch's Long-Awaited New Album
FREE JULY 2011 Readings Monthly • • • Peter Salmon Ann Patchett Alan Hollinghurst Robert Hughes (SEE P18) THE HARROW AND HARVEST IMAGE FROM GILLIAN WELCH'S NEW ALBUM Gillian Welch’s long-awaited new album p 17 Highlights of July book, CD & DVD new releases. More inside. NON-FICTION AUS FICTION FICTION FICTION YA DVD POP CD CLASSICAL $50 $39.95 $29.99 $24.95 $30 $24.95 $33 $27.95 $19.95 $24.95 $25.95 $21.95 $24.95 >> p19 >> p5 >> p6 >> p7 >> p8 >> p14 >> p16 (for July) >> p17 July event highlights : Matthew Evans on Winter on the Farm. James Boyce at Readings Carlton, Favel Parrett, Rosalie Ham. See more events inside. All shops open 7 days, except State Library shop, which is open Monday - Saturday. Carlton 309 Lygon St 9347 6633 Hawthorn 701 Glenferrie Rd 9819 1917 Malvern 185 Glenferrie Rd 9509 1952 Port Melbourne 253 Bay St 9681 9255 St Kilda 112 Acland St 9525 3852 Readings at the State Library of Victoria 328 Swanston St 8664 7540 email us at [email protected] Browse and buy online at www.readings.com.au and at ebooks.readings.com.au travel card travel card Instant WIN a $10,000 4000 1234 5678 9010 4000 5678 9010 4000 1234 4000 GOOD THRU 00/00 GOOD THRU 00/00 ANZ Travel Card It’s money made to travel Purchase any Lonely Planet product with a promotional sticker from 9am 04/06/11 until ANZ Travel Card ANZ Travel Cards 5pm 31/07/11 and visit lonelyplanet.com/anztravelcard to be in the running to win.. -
Cross-Section
UNIVERSITY OF MELBOURNE DEPARTMENT OF ARCHITECTURE CROSS-SECTION Issue No. 205 December 1, 1969 complex will give us a second chance. Let us hope it is not wasted on talking solely about function. Archi- tects: Bates, Smart & McCutcheon with Skidmore, Owings and Merrill. Builders: E. A. Watts Pty. Ltd. Engineers: Bates, Smart & McCutcheon. Cost: $20,000,000. ¶ Commonwealth architects a-plenty are expected to enter a competition to design a new U.K. parliamentary building sited near the Palace of Westminster, London. The competition is being conducted by the Ministry of Public Building and Works in association with the R.I.B.A. The Australian representative on the panel of assessors is Robin Boyd. The 2-stage competition and its draft conditions have been discussed by the panel for release by the end of '69. Ala -INN"10 lUtlU{U10 +y. ülifllf6lt{ifl( NI IH UUOtllkir, ■ 6. Photo: Adrian Crothers The 26-storey A.M.P. Tower and its adjacent 6-storey St. James building, Melbourne, is now being occupied. Unwittingly or not, the complex introduces delicious mannerist effects that altogether distract one from the simple aesthetic of the clean and the efficient. From William Street the Tower appears to be a monolithic peg that has been driven too far into the ground. The massive piers and the near eye level plinth of the tower facade combine to give this instantaneous thrill. The infamous facade of the St. James building has moved architecture into the territory of op-art sensa- tion. From some angles it creates a bewilderment that can generate nausea. -
Robin Boyd's the Australian Ugliness, Ugliness
RMIT DESIGN ARCHIVES JOURNAL | VOL 9 Nº 2 | | VOL JOURNAL RMIT DESIGN ARCHIVES 9 Nº 2 RMIT DESIGN ARCHIVES JOURNAL VOL 9 Nº 2 | 2019 ROBIN BOYD REDUX ROBIN BOYD REDUX BOYD ROBIN RDA_Journal_21_9.2_Cover.indd 1 27/11/19 4:58 pm Robin Boyd’s The Australian Ugliness, ugliness, peer reviewed and liberal education essay John Macarthur Robin Boyd’s graphic style in The Australian Ugliness owes much to the British journal The Architectural Review (ar) and in particular to Osbert Lancaster and Gordon Cullen in their critical and frequently humorous depictions of the vernacular built environment and the fancies of popular taste.1 On this basis it is reasonable to assume that Boyd’s account of ugliness also has sources in the ar’s discussion of architecture and ugliness, which Boyd references. But this is not the case; or, rather, there is an ambiguity here. Boyd writes with a quite patrician distain for popular but Australian featurism is particularly repulsive because it misunderstandings and ignorance of architecture, and this is cheerful, hygienic and taken to signify modernity when it is at odds with a certain condescending fondness for the is its exact opposite. The idiom of Australian featurism plays Opposite foolishness of bad building that we see in his drawings, out in a sequence of attractive novelty of form, materials Robin Boyd, which are closer to the AR. Boyd’s ambivalent ugliness and ornaments, each making their own plea for attention, The Australian Ugliness, (Melbourne: F.W. shares with the AR a strategy of deploying ugliness to ask one after the other, feature columns, supporting feature Cheshire, 1960), what role architectural expertise ought to have in a liberal porches, with plasticised silky-oak front door alongside RMIT Design Archives, society where all have a right to express their taste. -
Featurism and the Fish Bowl: Robin Boyd's
Philip Goad: University of Melbourne Featurism and the Fish Bowl: Robin Boyd’s ‘Drive-in’ Design for 1969 In 1960, Melbourne architect and critic Robin Boyd (1919-1971) coined the term ‘Featurism’ in his book, The Australian Ugliness. It was a term directed at an emerging tendency in the late 1950s towards what Boyd described as ‘cloak and camouflage’ in architecture, and with specific reference to the so-called Googie-style architecture of the American commercial strip, where signs, symbols and exaggerated forms in the form of advertising took precedence over function. Nine years later, Boyd’s 1969 design for ‘Neptune’s Fishbowl’, a drive-in takeaway fish and chips outlet on busy Toorak Road in South Yarra caused something of a sensation. It wasn’t just the flamboyant launch with a bare-breasted ‘mermaid’ on the back of an open truck that raised eyebrows. The building’s glazed polygonal form topped by a near geodesic blue fibreglass sphere drew criticism as being ‘Featurist’, an accusation laid at the term’s originator and against which Boyd had to defend himself in the press. This paper outlines Boyd’s design, its genesis within his own design preoccupations of the time, and its reception amongst the public and the profession. It argues that the Fishbowl was not only part of a new postwar architectural idiom designed specifically for the road but also that its design was part of an emerging acceptance that automobile-related architecture might play a decisive role in radically shifting opinions about the aesthetics of the late twentieth century city. -
Australian & International Photography
Australian & International Photography Collectors’ List No. 178, 2015 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Photography Established 1977 1. Hill and Adamson Address: 103a Anzac Parade, Kensington (Sydney) NSW (Scot t ish, David 1802-1870; Robert 1821-1848). Pres by Postal: PO Box 93, Kensington NSW 2033, Australia tery Group 24, c1845. Salt Phone: +61 2 9663 4848 • Mobile: 0411 755 887 paper photo graph, 14.4 x 19.6cm. Old stain to upper Email: [email protected] • Website: joseflebovicgallery.com right corner. Open: Mon. to Sat. by appointment or by chance. ABN 15 800 737 094 $12,500 Illustrated in Stevenson, David Member: Aust. Art & Antique Dealers Assoc. • Aust. & New Zealand Assoc. of Octa vius Hill and Robert Adam son, Antiquarian Booksellers • International Vintage Poster Dealers Assoc. • Assoc. of 1981, p183, with the caption “The International Photography Art Dealers • International Fine Print Dealers Assoc. reporters’ table - Skene standing, W. Robertson, J.R. Fyfe, John Johnstone, John MacDonald and COLLECTORS’ LIST No. 178, 2015 Rev Andrew Cameron.” Australian & International 2. Hill and Adamson (Scottish, David 1802- Photography 1870; Robert 1821-1848). Unknown Man #31, c1845. Salt paper photograph, 19.6 x 14.4cm. On exhibition from Wed., 5 August to Sat., 26 September. $11,000 Illustrated in Stevenson, David Octavius Hill and Robert All items will be illustrated on our website from 15 August. Adamson, 1981, p119. Prices are in Australian dollars and include GST. Exchange rates as at time of printing: AUD $1.00 = USD $0.74¢; UK £0.47p © Licence by VISCOPY AUSTRALIA 2015 LRN 5523 Compiled by Josef & Jeanne Lebovic, Dimity Kasz, Takeaki Totsuka, Lenka Miklos Cover: Lining Up, c1936. -
Art Gallery of South Australia Major Achievements 2003
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance. -
Scientists' Houses in Canberra 1950–1970
EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 EXPERIMENTS IN MODERN LIVING SCIENTISTS’ HOUSES IN CANBERRA 1950–1970 MILTON CAMERON Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cameron, Milton. Title: Experiments in modern living : scientists’ houses in Canberra, 1950 - 1970 / Milton Cameron. ISBN: 9781921862694 (pbk.) 9781921862700 (ebook) Notes: Includes bibliographical references and index. Subjects: Scientists--Homes and haunts--Australian Capital Territority--Canberra. Architecture, Modern Architecture--Australian Capital Territority--Canberra. Canberra (A.C.T.)--Buildings, structures, etc Dewey Number: 720.99471 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Sarah Evans. Front cover photograph of Fenner House by Ben Wrigley, 2012. Printed by Griffin Press This edition © 2012 ANU E Press; revised August 2012 Contents Acknowledgments . vii Illustrations . xi Abbreviations . xv Introduction: Domestic Voyeurism . 1 1. Age of the Masters: Establishing a scientific and intellectual community in Canberra, 1946–1968 . 7 2 . Paradigm Shift: Boyd and the Fenner House . 43 3 . Promoting the New Paradigm: Seidler and the Zwar House . 77 4 . Form Follows Formula: Grounds, Boyd and the Philip House . 101 5 . Where Science Meets Art: Bischoff and the Gascoigne House . 131 6 . The Origins of Form: Grounds, Bischoff and the Frankel House . 161 Afterword: Before and After Science . -
John ASHBERY, Poet (1927–2017)
XXXXX SIZE: 170x170 Cuneiform tablet c. 2050 BCE Southern Mesopotamia (modern-day Iraq) RARES 099 C89 Cuneiform writing, developed by the ancient culture of Sumer, was one of the world’s first scripts. It was written on clay tablets using a wedged stick (cunea is Latin for ‘wedge’); the tablets were then sun-dried or fired. The earliest tablets (c. 3400 BCE) record economic transactions. This tablet records taxes paid in sheep and goats in the tenth month of the 46th year of Shulgi, second king of the Third Dynasty of Ur. BOOKS AND IDEAS ‘[T]he book is an extension of the eye …’ Marshall McLuha n The history of ideas is mirrored in the history of the book. Books have altered the course of history itself, through the dissemination of ideas that have changed how we think about the world and ourselves. In many cultures across different eras, books have played a highly symbolic and iconic role. There was a time when it was thought that the world’s knowledge could be collected between the covers of a book. The information explosion of recent times now makes it impossible to contain the world’s knowledge within one library, let alone in one book, yet books continue to be a powerful means of informing and inspiring new generations. XXXXX SIZE: 170x170 Leaf from an antiphonal showing the Office for Pope Gregory the Great England (?), c. 1400 Gift of Meredith Sherlock RAREP 782.324 C2862O CASE: XX SIZE: 150x 150 Claudius PTOLEMY (c. 100–170 CE) Ptolomaeus Almagestus (Ptolemy’s Greatest Work) Translated from Arabic into Latin by Gerardus Cremonensis Northern Italy, 1200–25 RARES 091 P95A Greek-born scholar Claudius Ptolemy lived in Roman-ruled Egypt, contributing significantly in the fields of philosophy, astronomy, mathematics and geography. -
City of Port Phillip Heritage Review
City of Port Phillip Heritage Review Place name: B.A.L.M. Paints Factory Citation No: Administration Building 8 (former) Other names: - Address: 2 Salmon Street, Port Heritage Precinct: None Melbourne Heritage Overlay: HO282 Category: Factory Graded as: Significant Style: Interwar Modernist Victorian Heritage Register: No Constructed: 1937 Designer: Unknown Amendment: C29, C161 Comment: Revised citation Significance What is significant? The former B.A.L.M. Paints factory administration building, to the extent of the building as constructed in 1937 at 2 Salmon Street, Port Melbourne, is significant. This is in the European Modernist manner having a plain stuccoed and brick façade with fluted Art Deco parapet treatment and projecting hood to the windows emphasising the horizontality of the composition. There is a tower towards the west end with a flag pole mounted on a tiered base in the Streamlined Moderne mode and porthole motif constituting the key stylistic elements. The brickwork between the windows is extended vertically through the cement window hood in ornamental terminations. Non-original alterations and additions to the building are not significant. How is it significant? The former B.A.L.M. Paints factory administration building at 2 Salmon Street, Port Melbourne is of local historic, architectural and aesthetic significance to the City of Port Phillip. City of Port Phillip Heritage Review Citation No: 8 Why is it significant? It is historically important (Criterion A) as evidence of the importance of the locality as part of Melbourne's inner industrial hub during the inter-war period, also recalling the presence of other paint manufacturers at Port Melbourne including Glazebrooks, also in Williamstown Road. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.