Guest at the opening of Eltham Library; Left to Right: Mr. John Williams from Messrs. Leith & Bartlett Pty Ltd., Architects who were responsible for the interior architecture. Miss Pa, Mrs. Susan Groundwater, Children's Librarian Heidelberg Regional Library with her husband. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, shire of eltham, shire of eltham centenary, eltham library, opening day, john williams, miss pa, susan groundwater, mr groundwater, heidelberg regional library

This work examines windowalls and Stegbar Windowalls in Robin Boyd's architectural practice. The first windowalls were designed by Robin Boyd in the late 1930s. The Stegbar window was launched in 1953. This work was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design Masters Student.walsh st library

Primarily using the Osaka 70 World Expo, Boyd criticises the lack of depth of information of the event and the illusion each country provides for their audience. Boyd makes suggestions for improving audience engagement with the exhibitions and also for a new type of pavilion architecture which utilises the temporary nature of the buildings.Typewritten (c copy), pencil edits /notes, quarto, 6 pages. (Two copies)One copy annotated markers for slides for a talk or lectureosaka expo 70, japan, melbourne, robin boyd, manuscript, ohm2022, ohm2022_31

Discusses Walter Burley Griffin's effect on Australian architectural culture. Also considers his place within the Chicago School more broadly. Boyd believes Griffin to be more human, sensitive, and skillful compared to Frank Lloyd Wright, and laments that Griffin did not build more in Australia.This may be a lecture/talk - there are notes on the back.Handwritten, quarto, 2 pagesAll-caps inscription on the back of 2nd page - possibly a shorthand summary of the talk. Uncertain if this is Boyd's handwriting.walter burley griffin, old parliament house, canberra, louis sullivan, frank lloyd wright, capitol theatre, robin boyd, manuscript

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.Hardcover with Dust JacketRBF Acquisition. 50th Anniversary Edition (no. 138 of 300)australian architecture, australian society, australian culture, walsh st library

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.Hardcover with Dust JacketRBF Acquisition. 50th Anniversary Edition (no. 300 of 300)australian architecture, australian society, australian culture, walsh st library

“Living in Australia”, published in 1970, was a collaborative project by architect Robin Boyd and photographer Mark Strizic. It was the first book which documented the architecture and personal design ideas of Robin Boyd. Strizic contributed not just the majority of the black and white photographs but also the book’s stylish graphic designHardcover with three-quarter cover sleeveRBF Acquisition. Possible Proof Copy.robin boyd, architecture, domestic - australia, marc strizic, architecture - australia, walsh st library

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.SoftcoverRBF Acquisitionaustralian architecture, australian society, australian culture, walsh st library

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.SoftcoverRBF Acquisitionaustralian architecture, australian society, australian culture, walsh st library

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.SoftcoverRBF Acquisitionaustralian architecture, australian society, australian culture, walsh st library

“Living in Australia”, published in 1970, was a collaborative project by architect Robin Boyd and photographer Mark Strizic. It was the first book which documented the architecture and personal design ideas of Robin Boyd. Strizic contributed not just the majority of the black and white photographs but also the book’s stylish graphic designHardcover with Dust JacketRBF Acquisition. Abebooks invoices and bookseller documents within. Discoloured spine.robin boyd, architecture, domestic - australia, marc strizic, architecture - australia, walsh st library

“Living in Australia”, published in 1970, was a collaborative project by architect Robin Boyd and photographer Mark Strizic. It was the first book which documented the architecture and personal design ideas of Robin Boyd. Strizic contributed not just the majority of the black and white photographs but also the book’s stylish graphic designHardcover with Dust JacketRBF Acquisition.robin boyd, architecture, domestic - australia, marc strizic, architecture - australia, walsh st library

This is a facsimile copy, produced by Masters of Architecture Students at the Melbourne School of Design University of Melbourne, 2017. The original magazine was exhibited on the coffee table in the 'House of Tomorrow' designed by Robin Boyd for the Modern Home Exhibition 20 October to 1 November 1949, the Royal Exhibition Building in Melbourne.new yorker, walsh st library

“The Australian Ugliness” was first published in 1960. “Australia's Home” (published in 1952) and “The Australian Ugliness” both discuss architecture in terms of the total environment. Today they are regarded as classics, important documents of Australian cultural criticism by the nation’s foremost public intellectual on all matters relating to the built environment.Hardcover, no dust jacket. Rebound copy from the State Library of Victoria.Catalogue card slipped between pages. Catalogue number 203794. Inside front cover, pasted "NOTICE TO BORROWERS" from the State Lending Library of Victoria. Due date stamp page insideaustralian architecture, australian society, australian culture, home, suburbs, robin boyd, walsh st library

In architecture a corbel serves a decorative as well as structural function as a solid piece of stone, wood or metal that is built into a wall and juts out like a bracket to carry a weight. The smoothly shaped corbel was formerly built into the external wall of the lighthouse facing the sea. It consists of two cupped, rounded forms, one bigger than the other, which are attached to a damaged flat base. Made of cast concrete, it is the same fabric as the lighthouse and shows evidence of white paint on its surface. An early architectural drawing of the tower shows the corbel as a projecting, decorative moulding underpinning the balcony floor associated with the auxiliary light. It indicates the original corbel was a much larger architectural feature which started as a solid rectangular block and terminated with a smaller block and then two tapering, rounded forms. Prepared in mid-1888, the architectural drawings for the lighthouse by Victorian Public Works Department architect, Frederick Hynes, were amended in 1888-89 to provide for an auxiliary light, which comprised an arched opening and door in the tower wall below the lantern room and small balcony. In the late nineteenth century all of Victoria’s lightstations installed a red auxiliary light to serve as a danger warning to mariners sailing too close to shoare. Existing lightstations, like Cape Otway, built a pavilion below their lighthouse facing out to sea, but newly constructed towers like Point Hicks and Split Point incorporated them into their designs. The efficacy of auxiliary lights became a controversial issue and all were discontinued on 1 January 1913. The Point Hicks balcony was removed from the face of the tower in 1971 after it was found to be badly rusted. This resulted in the complete removal of the corbel, from which the rounded moulding and part of the base survives. The auxiliary light and door were subsequently removed in 1975 and glass blocks now fill the opening. Cape Schanck Lightstation retains four cast iron brackets from its auxiliary light balcony which are currently stored in the lighthouse on the ground floor. No other architectural fabric associated with the auxiliary light has been identified at Point Hicks Lightstation. The fragment of corbel has first level contributory significance for its historic and architectural values as a relic of the auxiliary light and as an original moulding from the fabric of Victoria’s first concrete lighthouse.A masonary corbel.

Tour notes for a tour of 'Penwinnick' at 5 Harkness St Quarry Hill. Five pages of typed notes describing in detail the various architectural and historical features of the property. On the reverse of the final page is pasted an advertisement for the Open Houses for 'Penwinnick and also 'The Eyrie'at 18 Reginald Street Quarry Hill. Open dates were Easter 11am - 6pm Friday 17th to Monday 20th. No month or year is stated.buildings, house, homes

A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. 35mm colour transparency of the facade of the Kew Post Office on the corner of High Street and Cotham Road. The [former] post office is a significant example of the English Queen Anne Revival style. The photograph was taken as part of a series by Ralph Andrews (Department of Building, RMIT) in April 1980. The colour of the slide has degraded over time but is still valuable as a record of the architectural treatment of the building and accompanying planting in the 1970s. kew post office, khs - slides, new public offices -- kew (vic.), architectural styles -- english queen anne revival

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Partial view, north side of the weatherboard cottage in St John's Parade, Kew, known as 'Reno' (demolished 1977). Architectural elements revealed in this photo by John T Collins include: two wing, hip roof construction; external buildings at angles to main wing; corrugated iron roofing [over shingles]; brick chimney external to building; unvarnished/unpainted external weatherboards. General dilapidated condition. "Kew 'Reno' 10 St Johns Pde / John Collins, 11 Anderson Road, Hawthorn East, 3123, Film 35B Exposure 27"reno - st john's parade -- kew (vic.), john t collins

Bendigo Art Gallery was founded in 1887 and has over the years undergone extensive building and renovation programs in recent years adding a new contemporary wing, storage areas, and a new entrance and gallery shop. This marquette was created to commemorate the new architecturally designed wing which was completed in 2014. Small folded anodised steel sculpture to commemorate the expansion of the Bendigo Art Gallery.bendigo art gallery / expansion 2014bendigo art gallery, city of greater bendigo tourism

Three photographs and one photocopied photograph of St. Mary’s Anglican Church Caulfield. All are undated and photographers are unknown. The first has paddocks in the foreground with the church in the distance. Also included are three lithographs of an architectural sketch of the proposed church from Illustrated Australian News 1870-1874, page 148.st. mary’s church, caulfield, reed and barnes, architects, caulfield, illustrated australian news

The drinking fountain is located in Catani Gardens, St Kilda. It was a gift to the City of St Kilda by Sali Cleve, a prominent local resident. It has aesthetic significance as a rare example of the Beaux-Arts style and is the only known public piece in bronze by noted architectural designer and artist Charles Adam Irwin. colour photograph, unmounted, good conditionThis Drinking Fountain is a Gift to the Public From Sali.Cleve.Esq. April, 1911st kilda, catani gardens, sali cleve, sali cleave drinking fountain, ca irwin, charles adam irwin, plaques

Port Fairy is one of the earliest pioneered areas in Victoria.Whaling and sealing were the primary industries in the early years and some of the 19th century architecture remains. In 2012 the seaside town of Port Fairy was voted the world's most liveable town with a population of less than 20,000 at the 2012 LivCom International Awards.Digital photograph of shamrocks carved in marble from a headstone in the Port Fairy Cemeteryballarat irish, shamrock, shamrocks, headstone, cemetery, carving, port fairy