This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperBack of photograph. Handwriting: "For John Beckingsale"mayday hills, beechworth benevolent asylum, ovens benevolent home, destitute, gold town, beechworth, victoria, north-east vic

The Former Clyde Cameron College was constructed in 1976-7 as a residential training college for trade unions. The college was commissioned and operated by the Trade Union Training Authority (TUTA) from 1977 until its closure in 1996. The design team was the Architects Group and the Commonwealth Department of Construction was responsible for site supervision and contract administration. The building was constructed jointly by Costain Australia Ltd and M.A. & A.W. Chick of Albury. The foundation stone was unveiled by Clyde Cameron in 1976. He was the serving Federal Minister for Labour from 1972 to 1974, Minister for Labour and Immigration 1974 - 1975 and Minister for Science and Consumer Affairs in 1975. The building was completed at a cost of $6.5 million in 1977. It was one of the most controversial of the 1970s due to its Brutalist architecture. The complex consists of a series of wings of one and two storeys linked by pre-cast concrete pipe walkways. Inside the wiring and pipes were left exposed and painted in primary colours to show off the workmanship. The accommodation, most of them single rooms, were able to house 70 students at a time with 1200 students to go through each year. The training college was closed in 1996 and was taken over by the Murray Valley Private Hospital and Murray Valley Radiation Oncology. In July 2008, the Royal Australian Institute of Architects awarded its “25 Year Award for Enduring Architecture” to Clyde Cameron College. The building was again sold in February 2023, although its future is yet to be determined.The former Clyde Cameron College is of architectural significance as an example of the late twentieth century Brutalist style and the work of Victorian architect and lecturer Kevin Borland. It also has historical significance for its association with the Trade Union movement, and the Whitlam government, including its role as Australia’s first residential trade union training facility. It is a physical reminder of the influence of the union movement in the 1970sA collection of colour photographs documenting the buildings at the former Clyde Cameron College, Wodonga.clyde cameron, trade union training, clyde cameron college

http://en.wikipedia.org/wiki/Horse-drawn_vehicle http://www.coyaltix.com/lamps.htmlThe candle light needed to be protected from the wind. This removeable light or lantern has 4 sides with 2 oblong bevelled glass panals, 3rd panel is plain with a heat vent and the 4th opens to light the lamp and has a 4.5 cm round red glass which would act as a reflector. The candle holder screws out to allow for a narrow candle to be inserted. It has a black ventilated cover on top and has slide fixture to attached the lamp on to the carriage. . Powerhouse Museum Collection Thesaurus Protected lamps or lanterns, fixed or removable, used on coaches or carriages. Commonly made of brass, they often were fitted with reflectors as well as red lenses to serve as tail lights (Art and Architecture Thesaurus).red and clear glass lenses light candle reflector bevelled glass horse buggy tail light

Sepia photograph. Six females and two males on footpath outside shop with verandah. Single storey building with narrow land at R. Appears to be washing on line at back of lane. Three females wearing ankle length dresses. Younger females wearing mid-calf length dresses. Inscriptions: in image - on window of shop 'M>J> Cahill & C..', 'Cloth… ..nufactur…'. On back - printed - 'NO. of photograph (1058?), R Dermer Smith. Late of Melbourne and Sydney. Landscape & Architectural. Photographer. Royal Duke Hotel, Bull Street, Sandhurst. Additional copies of this picture may obtained at any time at the above address; single copies Is. Each; 5S per half-dozen. Please enclose the No. of Photograph'.R. Dermer Smithperson, group, adults, sandhurst, history, clothing, fashion, costume, bendigo, retail, business

The National War Memorial of Victoria, an interpretative appreciation of The Shrine of Remembrance, with 46 illustrations. This moment was erected by a grateful people to the honoured memory of the men and women of Victoria who served the empire in the great war of 1914-1918. The book has 44 pages. Contents: The Shrine of Remembrance - The call and the response - The past speaks to the present - Dedicatory descriptions - The Greek tradition - General design - Architectural features - The buttress group - Dome promenades - The north and south porticos and the tympana - Floodlighting - Battle honors - The inner chamber - The roll of fame - The king's book - Ambulatory and stairs - The sanctuary - The stone of remembrance - The gleaming bay - The crypt - The final message - Subsidiary memorials - The lone pine tree - Other memorial trees - Birdwood avenue - Historical record of the Shrine of Remembrance.books, military, shrine of remembrance

An image from the Herbert Richmond collection, gifted in 1982 to the Ballarat Library. The collection contains approximately 200 photographs of Ballarat and district in the 1940s, 50s and 60s, as well as photo albums, glass negatives and other memorabilia. Herb Richmond was a keen photographer, a foundation member and a life member of the Ballarat Camera Club, and a photographer with the Ballarat Courier during the 1940s. The Ballarat Camera Club named an annual award after him. Mr Richmond died in 1981 aged 79. These images were digitally re-photographed by members of the Ballarat Camera Club in September 2006. The rear of the architecturally important warehouses in Lydiard Street North has long been a site for signwriters and advertisers to promote their wares. The warehouses were erected in 1861-2.s. flohm signwriter, j.j. coller merchants, warehouse, bluestone

The Shine Dome is one of seven projects that the Royal Australian Institute of Architects has nominated to the World Register of Significant Twentieth Century Architecture. In 1956 six architects were invited to submit plans for the Academy of Science's new building in Canberra and the Academy's building design committee selected Grounds Romberg and Boyd's proposal designed by Roy Grounds. It features a shallow arcaded concrete dome, sheeted in copper and was one of a number of domed buildings that appeared around this time internationally, expressing the optimism of the post-war years. It perfectly reflected the Academy's ambition to champion excellence in Australian science and promote international scientific engagement. Paul Wallace, a well-known Melbourne renderer, drew this perspective of the proposed design, possibly for the competition submission, in 1956.Coloured perspective of the Academy of Science buiding in Canberra.Printed text on attached sticker, 'ACADEMY OF SCIENCE, CANBERRA / 1958 / Grounds, Romberg and Boyd, / Architects'. Printed centre on verso, 'ACADEMY OF SCIENCE CANBERRA GROUND, ROMBERG AND BOYD ARCHITECTS 340 ALBERT STE., MELBOURNE C2'.science, canberra, architecture, rmit design archives, design

17 Fellows Street Kew was originally owned and occupied by the architect Henry Kemp. Kemp had arrived in Australia in 1886 and this was therefore one of the first of the many buildings he was to design in Melbourne. While late Victorian in date, the house is an interesting precursor of the Edwardian architecture produced by Kemp. Somewhat awkwardly composed with steep gables, a rectangular castellated tower and slated single storeyed verandahs projecting from the overall box-like form, the house contains features common to the 1880s such as the use of polychromy in the brickwork and slates cladding the roof. (Sanderson 1988). The historian Dorothy Rogers established that at one stage it was the home of Dr John Dale - Chief Medical Officer of the City of Melbourne. This photograph predates later renovations to the rear of the property.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society17 Fellows Street, Fellows Street frontage."17 Fellows St. Also residence of Dr. John Dale, Melbourne City Medical Officer"fellows street (kew), dorothy rogers, henry kemp, dr john dale

Set of 12 flags collected by the donor, unused, manufactured during the late 1980s. 1 - Australian flag - see also item 790 for a used example 2 - Support Legacy 3 - March is Red Cross calling month. 4 - 100 years of trams - see also item 2608 5 - Victoria 150 6 - Architecture Week 7 - Energy Week - May 1987 8 - Spoleto festival - blue background 9 - Spoleto festival - purple background 10 - Women 150 art festival 11 - Girl Guides 12 - ESTO '88 Melbourne - ESTO is a world-wide cultural festival for expatriate Estonians which has taken place every four years since its beginning in 1972Demonstrates the type of flags that were made for use on Melbourne trams during the late 1980s.Set of 12 flags made for use on tramcars - unused - nylon woven fabric and printed on various coloured cloths. Sewn with a loop at the left hand end to enable a wooden dowell to be fitted and secured and flown on a W class tramcar.trams, flags, melbourne, tramways, legacy, festivals, 100 years of electric trams, 150th anniversary victoria

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melbourne's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement.https://vhd.heritagecouncil.vic.gov.au/places/4442 Victorian Heritage Register: What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 60 of Photograph Album with three exterior photographs (one portrait and two landscape) of Anselm.Hand written: 4 Glenferrie Street [top right] / ANSELM 4 Glenferrie St [under top photo] / 60 [bottom right] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, gates, cast iron work

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melboume's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement. Victorian Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/4442 What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 61 of Photograph Album with one exterior photograph (portrait) of Anselm.Hand written: 61 [bottom left] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, brick house, attics

Ron Setford and his wife Grace Setford lived in Tanner Avenue, East Kew, from c.1946 to c.1995. A keen photographer, he recorded the changing face of Kew over a 20 year period. Apart from 30 photographs of built structures and places in Kew dating from 1960 and 1961, 145 of his 35mm colour slides chronicle the development of the Eastern Freeway through the Yarra Valley over a five year period from c.1972 to c.1977. This important collection was donated to the Society by his granddaughter in 2025.This collection of 175 35mm slides is of local and statewide significance, owing to its subject matter, particularly the major development of road transport infrastructure during the 1970s with the construction of the Eastern Freeway. The photographer also took care to annotate and date most of his slides which enable the researcher to pinpoint temporal and spatial locations.A photograph providing a visual contrast of the pre and post-World War II architectural styles of the Denmark Street Baby Health Centre and two of the Country Roads Board office buildings. Each was built on part of the land fronting the Kew branch line. In May 1939, the Railway Commissioners agreed to lease a site at the Kew Railway Station for a Baby Health Centre. The single-storey cream brick building was designed by Roland Chipperfield. The Country Roads Board (1913–83), later renamed VicRoads, transferred its headquarters from the Royal Exhibition Building to Kew in 1961, following the completion of two modernist eight-storey office towers in 1960. The VicRoads buildings were closed in 2024, and there is ongoing debate about what replaces them.Nilron setford, photographs -- kew (vic.) -- 1960s, country roads board, vicroads, denmark street -- kew (vic.), denmark street baby health centre

The University of Ballarat inherited the Camp Street Arts Precinct. As the functions of the former public buildings were moved elsewhere, the Victorian Government of the time recognised the importance of maintaining the heritage buildings and the opportunity to create a cultural precinct extending from the Art Gallery. The 19th century architecture along Lydiard Street and the dogleg bend of Camp Street define the precinct. With substantial financial assistance from both State and Commonwealth Governments, the Art Gallery Ballarat has been extended through to include the 1884 Police Station on Camp Street. The Post Office building (1864-1887) was acquired for the University. The 1904 and 1941 Courthouses and the c1900 Public Library building were also included. Two new buildings have been constructed. These six buildings will house the University's Visual and Performing Arts Programs.3 Panorama photograph of the opening of the University of Ballarat Arts Academy, Camp Street. .2 Poster .1) L to R Kerry Cox (Vice Chancellor); Brendan Nelson (Federal Minister - Education); Chancellor David Caro; Steve Bracks, Premier of Victoria. Photographer Ian Reiduniversity of ballarat, camp street, victorian government, commonwealth government, ballarat fine art gallery, police station, courthouse, public library, post office, art gallery ballarat

Newspaper article 'New Bialik Wing', published in unknown newspaper, 21 March 1969. " 'New Bialik Wing' Veteran Zionist leader Mr. Samuel Wynn will officially open the new, ultra modern block of classrooms and amenities at Bialik College, Hawthorn, this Sunday, March 23, at 11.00am. Daring in design by today's architectural standards for school buildings, the two storied unit contains four classrooms. Each room is constructed to receive the maximum of light from windows and special overhead skylights and is fully carpeted throughout to obviate noise.The classrooms are accommodating no more than thirty children in each room, to achieve the maximum individual attention for each child.The unit will open for inspection at 11.00 a.m. to be followed by the official opening and refreshments. There will be no appeal.donors, community, celebration, fundraising, buildings

Annual report of the Braille & Talking Book Library including Minutes of the AGM, Board of Director's Report, President's report and financial statements. Items also included are: acknowledgement of the work on Thomas Luxton as foundation president, having a stand at the Royal Melbourne Show, acknowledgement of Joan Cunnington for working 50 years as a transcribing and producing the most volumes (789) of any transcriber, display of a thermoform map designed by 2nd year Architecture students of the Melbourne University campus, Sir Paul Hasluck winning the Braille Book of the Year award, first edition of Library Talk audio magazine, congratulations from the Federation of Blind Citizens on providing 2 track cassettes, retirement of Alice McClelland and Geoffrey Wilson, and a delegate attending the Australian and New Zealand Association of Teachers of the Visually Handicapped conference,1 volume of illustrations and textbraille and talking book library, annual reports

Murray Comrie Collection. John Pierce's Southern Cross General Store, a wholesale grocer and spirit merchant was put up for sale after Pierce's death in 1871. It was later incorporated into the Flour Mill complex. De Gruchy & Leigh was a publishing and printing firm operating in Melbourne and regional Victoria from the late 1850s until the mid 1860s. The company published almanacs and guidebooks as well as prints (portraits, views and genre scenes), maps and architectural plans (Source: National Portrait Gallery, Canberra). This is a copy created from another item in the collection - a printed piece of paper which was either a packing label or receipt form used at the company or a brand label for bottles, perhaps for wine made by the proprietor. Copy probably made by Murray Comrie in the 1970s. Monochrome photographic copy of a lithograph. Depicts a building with glass front windows and signage stating 'J. Pierce Wine & Spirit Merchant' and 'Southern Cross General Store, Wholesale and Retail Depot'. In front of building on road are two horses hitched to carts and men standing on cart and in front of store. This store was located on the south-eastern corner of Commercial Road and King Street. The building was later incorporated into the flour mill complex.tarnagulla, commerce, shops, stores, shopping, food, alcohol, horses, transport, buildings, commercial road, main street, john pierce, southern cross general store

Artist's Statement: I spent time visiting the barracks, museums, libraries, gaining information, making special pencil drawings and colour notes, when and where possible. Preparatory drawings for larger paintings were always on detail paper. The reason for this was I could use both sides, correfting mistakes on either side, until a satisfactory end. I use this procedure so that the surface of the painting paper was not effected by erasion. The final drawing was traced on having rubbed a stick of charcoal on the detail paper. I have used this procedure from my early days as a commercial artist. In drawing each horseman fully and tracing each horseman fuly in his place in relation to the whole and rubbibg out the parts covered by the nearer objects. Such essential things as legs and shadows are sure to be in the right place. Most of the pencil drawings of the palace gates, and other features I needed had to be made from a standing position. all these were filed for future reference. Everything had to be in the right proportion to the palace gates. The procedure for the Escort is as follows: If the Life Guards mount the escort an officer of the Blues rides at the right of the coach by invitation. The Guards officer rides on the left. Then follows the Standard flanked by a commissioned officer on the right. The trumpeter on the left. The trumpeter rides on a white horse. He has a selection of twelve different uniforms. After that follows the unit. The stirrups used by the officers are squarish. The troopers stirrups are a conventional form. All personnel riding and on no account rise in the stirrups as normally they would at the trot. This modifies the ragged impression of heads bobbing up haphazardly - their behinds become acclimatized in time." Gift of the Artist, 1981. Allan BERNALDO (05 August 1898-25 June 1988) Born Creswick, Victoria Allan Bernaldo won a scholarship to the Ballarat School of Mines to study Architecture. He received a certificate of merit in 1917, and the Ballarat School of Mines President's medal for the most meritorious Art student. Allan Bernaldo was editor of the Ballarat School of Mines Magazine in 1918. He became known as a commercial artist, teacher and water-colourist who specialiesd in horses and flowers. He died at St. Ronan’s Nursing Home in Armadale, Victoria and was buried at Springvale Botanical Cemetery, with his wife Florence Victoria May Elliott, who predeceased him in 1966. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Gift of Allan BernaldoFramed watercolour painted from materila gathered while the artist was in London during 1952 showing the queen's guards on horseback. art, artwork, bernaldo, allan bernaldo, royalty, guards, watercolour, available

"26th March 2019 In contribution to the historical account of the Mission to Seafarers, Melbourne. To whom it may concern, In 2005, the Mission to Seafarers’ Padre Bevil Lunson assigned an upgrade to the existing bar and gift shop. The brief outlined alignment with health code and liquor licence regulations, rethink of stock display and aesthetic upgrade of white peg-board and fluorescent-lit display-case. Two students of architecture answered the call and provided pro bono design, building and installation services. Beyond the updated flooring, work surfaces and new hand-wash point their ethos of sustainable design presented a strategy of redressing the existing on a shoe-string; helping minimise trades and protect the heritage substrate. A new standing-bar was proposed to envelope the display case and re-orient the hall back toward the stage. Punters were directed to the seated-bar for purchases. The chosen palette aimed to anchor the bar below the hall’s half-timbered dado-line utilising the muted tones of recycled materials. Glass bottles set in resin diffusing panels and timbers sourced from throw-outs were dressed and composed to suggest the multiple approaches to a calling of the sea. This flotsam and jetsam was intended to provide a shifting background that is representative of the many walks of life that support and are supported by the mission. Two uninstalled elements further accented the design: -the flying angel logo was to appear hovering within the bar’s archway and also inverted by the dado-line in the bar’s rear mirror (refer attached sketch), -and the two lampshades, referencing the inverted form of nautical beacons, were to shepherd clientele to the bar (refer attached sketch). Where are they now? Derek Stevenson – Turner Townsend Thinc Stuart Webber – ARM Architecture The bar was dismantled during the renovation mid 2019 and replace by another bar.These documents provide insight into an early 21st C refurbishment to the interior of the MTSV and Mission club operations in the early 21st Century and provides names and details of both the consideration of the need to: protect heritage components, provide a functional service point, incorporate recycled materials that related to aspects of the sea and environment, the flotsam and jetsam that is found where the sea, and those from the sea meets the land. Also provides an example of early career designs by two practising 21st C Australian architects and designers. During the renovations in winter 2019, the decision was made to demolish to make space to another more convenient one brought from a cafe, along with new chairs and tables for the club.Digital copy files sent in March 2019 by architect Stuart Webber after a visit to the Mission. Along with two sketches he submitted, he sent a document telling how the bar came to life in 2005.bar, stuart webber, derek stevenson, mts club, mts interior, bevil lunson

Taken 1905 by photograph W.D Gibbons the photograph depicts a pathway leading to the administration building of the Beechworth Mental Asylum. There are three well-dressed young men lounging on the grass as another is jumping behind them. This is significant as it demonstrates that the asylum was not a prison and that the mentally ill patients were allowed their freedom. The Beechworth 'Lunatic' Asylum was constructed between 1864 and 1867 to the designs by the Public Works Department (PWD) and was later renamed the Mayday Hills Mental Asylum. The decommissioned asylum was one of the largest psychiatric hospitals in Victoria and consisted of sixty-seven buildings, one thousand two hundred patients and five hundred staff members. At the asylum, active work was considered imperative and workshops were located near the male accommodations and laundries and drying yards near the female accommodation. The administration building itself highlights the architectural and aesthetic significance of the asylum to the State of Victoria. This photograph is historically significant as it demonstrates the architectural and aesthetic significance of the asylum but also the changing approaches to treating mental health. Black and white rectangular photograph printed on matte photographic paper mounted on grey cork Obverse: W.D Gibbon/ Beechworth Reverse: 79.1701beechworth, beechworth lunatic asylum, beechworth mental hospital, mayday hills, mayday hills mental hospital, asylum, administration building, wd gibbon, photograph

Built in 1860, the Eltham Courthouse is the oldest public building remaining in Eltham. In its early days the building was used as the meeting place and office of the Eltham District Road Board and as an overflow classroom for the local school. The Eltham Courthouse ceased operational duties in 1984 and is now used by various community groups including Eltham District Historical Society. It was listed on the Victorian Heritage Register (Number H0784) in 1982. The building is of architectural significance because it retains intact early features. These include use of handmade bricks, simple decoration, roof trusses, timber ceiling boards, original windows, doors and associated hardware and a collection of court furniture. Additions to the court house have been done in a manner which did not interfere with the fabric of the original building. It is a fundamental asset in the Eltham Justice Precinct and is being fully restored in 2021 thanks to Nillumbik Shire Council.35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Meltham, eltham courthouse, main road

The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces. The foot came into the school’s collection prior to 1920 as it appears in a photo in the SMB Annual Report. There are two possibilities where these sculptures may have originated, either Victorian and Albert Museum or the British Museum. There is a reference to the purchase of plaster casts from the Victoria and Albert Museum in the 1918 School of Mines Ballarat Minute Book. This plaster cast of a foot is of local significance as only one of a few remaining teaching pieces from the substantial collection of sculptures used in the art school. The foot also has significance as an interpretive tool complementing the complete art folio of Edith Alice Watson who was a student from 1930-1933.Plaster cast of right foot including ankle. Made from plaster of Paris. Mainly white in colour with grey patches around metatarsels, flecks of blue and green paint and pale brown paint (possibly shellac) and on top of ankle. Measurements suggest a size 11 man's right foot.plaster cast, foot, drawing aid, art school, smb, edith alice watson, 1931, 1931-33, 1918, 1920, plaster of paris, sculpture, ballarat technical art school number 10, drawing from the antique, drawing the human figure from cast

The University of Ballarat (later Federation University_ inherited the Camp Street Arts Precinct. As the functions of the former public buildings were moved elsewhere, the Victorian Government of the time recognised the importance of maintaining the heritage buildings and the opportunity to create a cultural precinct extending from the Art Gallery. The 19th century architecture along Lydiard Street and the dogleg bend of Camp Street define the precinct. With substantial financial assistance from both State and Commonwealth Governments, the Art Gallery Ballarat has been extended through to include the 1884 Police Station on Camp Street. The Post Office building (1864-1887) was acquired for the University. The 1904 and 1941 Courthouses and the c1900 Public Library building were also included. Two new buildings have been constructed. These six buildings will house the University's Visual and Performing Arts ProgramsColoured postcard size photograph of Steve Bracks, Premier of Victoria, unveiling the plaque at the opening of the University of Ballarat Arts Academy, Camp Street. .1) L to R Kerry Cox (Vice Chancellor); Brendan Nelson (Federal Minister - Education); Chancellor David Caro; Steve Bracks, Premier of Victoria. Photographer Ian Reiduniversity of ballarat, camp street, victorian government, commonwealth government, ballarat fine art gallery, police station, courthouse, public library, post office, art gallery ballarat, art gallery of ballarat

Cologne Cathedral is a renowned monument of German Catholicism and Gothic architecture and is a World Heritage Site. It is Germany's most visited landmark, attracting an average of 20,000 people a day. (Wikipedia) Though not targeted itself, the cathedral was very near to the central railway station and suffered fourteen hits by aerial bombs during World War II. Badly damaged, it nevertheless remained standing in an otherwise completely flattened city. The twin spires were an easily recognizable navigational landmark for Allied aircraft bombing deeper into Germany, which may explain why the cathedral was spared. Repairs were completed in 1956. An emergency repair on the northwest tower's base carried out in 1944 using poor-quality brick taken from a nearby ruined building remained visible until 2005 as a reminder of the war, when it was decided to restore the section its original appearance. (Wikipedia) Black and white photograph showing a grand cathedral from a waterway. It is Cologne (Koln) Cathedral from the Rhine. To the left of the photo bombed buildings are evident. The photograph is believed to have been taken by Frank Wright.cologne cathedral, koln, germany, rhine, bombing, world war two, frank wright