In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. The William Almeida Memorial is a drinking fountain located in the Triangle Gardens, Hampton, which commemorates William Almeida who was killed in an armed robbery at the Commercial Bank, Hampton, on 28 November 1914. Twenty-two year old Almeida was working alone at the bank when two armed robbers entered the premises. After refusing to hand over the bank’s money, Almeida was shot by one of the assailants before they fled. Despite the gunshot wounds, Almeida managed to chase one of the robbers down, dragging him back to the bank and handing him over to a bystander before collapsing. Almeida later died at the local hospital and this fountain was erected in his memory by the Bank Official’s Association and Almeida’s colleagues.Annette Meikle, William Almeida Memorial 1977, ink and watercolour, 35 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, william almeida memorial, hampton, william almeida, drinking fountain

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This gun stood in the grounds of the Beaumaris RSL, located on the highest hill in Beaumaris – more than 300 metres above sea level. The ‘25-pounder’ was one of the best field guns of its day and was used by British and Commonwealth armies during the Second World War. The original ten-acre property, which was the former holiday home of wealthy Toorak resident Langford-Jack, was sold to the Legacy Club in 1942 and operated as a holiday home for Legacy children. Renamed Blamey House in honour of Field-Marshall Sir Thomas Blamey, it was purchased by the RSL in 1955. The Beaumaris RSL Club closed its doors on Balcombe Road in 2016 after the property was sold in 2013.Annette Meikle, Beaumaris RSL 1977, ink and watercolour, 33.8 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, beaumaris rsl, 25-pounder, field gun, military weapon, langford-jack, blamey house, balcombe road, beaumaris

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Tasmanian architect J.H. Esmond Dorney developed this ground-breaking design for the Sandringham Hospital, which opened in 1964. Dorney had spent significant time recuperating in hospital in the post-war years and developed a special interest in hospital design. The hospital included circular wings with nurses’ stations at the hub and wards radiating outwards like spokes on a wheel. The hospital included 100 beds, two operating theatres and four delivery rooms and baby nurseries. Each ward of two to four beds had its own bathroom, and featured wide windows with garden views. The design was considered radical at the time and was copied as far afield as England and the United States.Annette Meikle, Sandringham Hospital 1977, ink and watercolour, 25.5 x 35.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham hostpital, jh esmond dorney, hospital, architecture, sandringham

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded. This particular slide is of 'Fairholme' on the corner of Barry and Fellows Street. The building is listed by the National Trust (Victoria). The citation on the Historic Buildings Register states: 'Fairholme is of State architectural significance as a distinctive free Romanesque Revival residence. Built in two stages, 1889 for solicitor Edward Smart and early this century for importer, J K Meritt, the singular architectural character of Fairholme is achieved by combining window bays and groups of windows with a two-storey gabled porch. The deliberate and distinctively asymmetrical composition is emphasised by Art Nouveau pressed cement detailing (coprosma) on a bowed balcony and the two-storey timber verandah, which is typical of the Edwardian period. The architects were Reed, Henderson & Smart (1889) and C Gordon McCrae (c 1900-1). Internally a grand entry hall with inglenook, staircase and gallery follow the Arts and Crafts quality of the exterior. Classified: 17/03/1993'The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) of 'Fairholme' (1889) on the north-east corner of the intersection of Fellows and Barry Streets, Kew. The photo was developed in May 1979.barry street -- kew (vic.), fellows street -- kew (vic.), historic houses -- kew (vic.), architects -- reed henderson & smart, architectural styles -- romanesque revival, j k merritt

Bob Snape always included in his kit a few second hand Baedeker's guide books, as well as the 'Belgium and Holland' volume. Bob was a keen observer and commentator and used these guide books as any interested tourist. Bob's letters home often made reference to the history, culture and architecture of the countries he visited in the course of the war. Bob's English born father had lived and worked in France from 1878 to 1880 before his emigration to Australia.Two tone map in orange, grey and black. snape collection

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

This contains Lecture 3 (28 min 56 sec) and Lecture 4 (28 min 32 sec) of the series Artificial Australia by Robin Boyd. Artificial Australia was the title of a five Boyer lectures given by Robin Boyd in 1967 on the Australian Broadcasting Commission radio. The lectures were (1) Creative Man in a Frontier Society, (2) The Architecture of Ideas, (3) Integrity in the Artificial Object, (4) The Environmental Arts in Australia. (5) The Australian Myth in the Modern World.Sanyo CDboyer lecture, artificial australia, robin boyd

By the late 1950s Robin Boyd had developed a network of connections in the United States, and a reputation there as an important architectural critic. In 1960 he was awarded an Honorary Fellowship by the American Institute of Architects. This certificate was put on display in Penleigh's bedroom by the Robin Boyd Foundation. This certificate is dated April 19, 1960, the day earlier than another certificate at Walsh Street (item D491). It is also signed by the President John Noble Richards who served 1958–1960.Framed certificate from The American Institute of Architects, with crest, awarding Robin Boyd an Honorary Fellowship. Dated April 18,1960 and signed by the President, John Noble Richards, but unsigned by the Secretary. It has a simple timber frame by Deans, 346 Little Collins St. No 17121.The American Institute of Architects certificate of Honorary Fellowship Robin Boyd eminent architect, citizen of Australia having been admitted to Honorary Fellowship by the Board of Directors in recognition of his distinguished achievements is declared to be an Honorary fellow The American Institute of Architects entitled to use that title and to enjoy all the privileges of that membership.the american institute of architects, fellowship, aia fellow, robin boyd, ohm2022, ohm2022_38

The original Methodist (Wesleyan) Church was built on the corner of Alexandra Crescent and Windsor Lane in 1888. It was enlarged in 1892. In 1908 this building was removed to Valonia Avenue by horse-drawn dray. The brick church was built in 1915 after which the earlier building became the Sunday School. In 1977 the Methodist Church joined with others to become the Uniting Church. In more recent times, the brick church has been painted but architectural details visible in this photo can still be discerned.Black and white photo of a brick and rendered building taken from diagonally opposite across Canterbury Road looking to the north-west. The church sits behind a woven-wire fence with an opening at the front and at the side to a portico off Valonia Street. On the RHS is the church hall and on the LHS a small part of the adjacent house can be seen.surrey hills methodist (wesleyan) church, surrey hills uniting church

The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council

This small note book belonged to John Ross, the Warrnambool Town Surveyor and Engineer (1889-1906 & 1913-1914). The book lists the levels taken for the benefit of contractors undertaking jobs for the Warrnambool Council from 1898 to 1902. The jobs include ‘Russells Creek from the Merri River upwards’, ‘Outlet at the Flume’, ‘Guns at the Battery’ and Drainage from the Terminus Hotel to the end of the Japan Street Tunnel’. John Ross was also in private practice with the architectural firm of Ross and Jackman. This notebook is of considerable interest because it is an original note book that belonged to John Ross, the Warrnambool Town Surveyor and Engineer in the late 19h century and early 20th century. The note book contains important information on the engineering projects in Warrnambool and district from 1898 to 1902. This note book has a red leather cover. The cover is a little creased. The inside pages have ruled red lines and printed headings regarding the levels taken of a site and the location of the site (1898 to 1902). The engineer’s entries in the printed columns are handwritten , mostly in pencil. The inscription on the first page is handwritten in black ink. ‘Jno C Ross, Town Surveyor Wbool 19/5/98’ john ross, warrnambool town council, history of warrnambool

A three page black and white photocopy of a Caulfield Conservation Study of Kahyln House, formerly Kynaston, 70 Bambra Road, Caulfield North, by Andrew Ward in August 1994. The report describes key architectural features of Kahlyn House and gives a brief history of the property’s ownership. The study includes a photograph of the exterior of Kahlyn. The file also includes an undated, unattributed colour photograph (100mm x 150mm) of the exterior of Kahlyn. An undated, unattributed black & white photograph digital version only.danphy catherine, anderson grace, beauchamp horatio, murray reginald, murray kynaston l, holst frederick, ward andrew, hudson street, caulfield, caulfield north, bambra road, kahlyn private hospital, mansions, hospitals, houses, architectural styles, towers, victorian style, verandahs, kahyln, kynaston