A brief history of the National Gallery of Australia, including the design competition, designs, location, collaboration of the chosen architect (Colin Madigan of Edwards, Madigan and Torzillo) with the gallery director, James Sweeney, approval by relevant statutory bodies, and the political upheaval that stalled progress.Original manuscript of an article published as ‘What’s become of our new gallery?' in "The Sunday Australian", 11.04.1971.Typewritten, (p/copy), quarto, 9 pagesnational gallery of australia, colin madigan, edwards, madigan and torzillo, james sweeney, art gallery design, canberra, robin boyd, manuscript

Discusses twentieth century architecture and the evolution of modern architecture. Describes present architecture in three categories, namely vernacular, professional and creative. Examples of house designs within the new architecture are given.This manuscript was published as a book titled "The New Architecture" (The Arts in Australia Series), Longmans, Melbourne, 1963.Typewritten (c copy), pencil edits, quarto, 18 pagesmodern architecture, australia, young architects, creative architecture, new architecture, robin boyd, manuscript

Robin Boyd was on the judging panel for the American Institute of Architects, in conjunction with Sunset magazine, "Best houses" in the West Coast USA in 1965. Interesting commententary is given about the 364 houses entered and the award-winning houses. Some conclusions about what is new in planning are drawn. Comparisons are made with the best Australian houses and landscape architecture of 1965. This manuscript of Boyd's weekly newspaper column in 'The Australian' was published with the same title on 31/07/1965.Original manuscript of an article published in The Australian, 16/10/1965.Two copies. One typewritten (c copy), pencil edits and additions. Second typewritten (p/copy). Both quarto, 7 pages.american institute of architects, california, sunset magazine, house design, 1965, landscape design., robin boyd, manuscript, ohm2022, ohm2022_16

Discussion of Architectural professional techniques (organisation of the profession, from the societies, registration etc and the growth in the profession, office practices) public and private practices (eg Commonwealth Department of Works,), research and regulations (eg building research, CSIRO), and theory and practice (the vernacular, the professional and the creative).Original manuscript of an article published as 'Architecture in Australia’ in RIBA Journal, Vol.78, No.1, January 1971, pp.11-20.Typewritten (p/copy), quarto, 22 pagesaustralian architecture, royal australian institute of architects, the architecture profession, package dealing, australian architecture students association, public and private practice, commonwealth department of works, building research, csiro, building regulations, john andrews, robin boyd, manuscript

Boyd discusses Australia and New Zealand's search for their own 'modern' architectural style. Boyd points out the influence of the natural landscape that affects these designs and architectural decisions. In addition, he argues that the search for 'modern' architecture isn't rushed due to the need of respecting the natural landscape of both Australia and New ZealandOriginal manuscript of an article 'Australia in seclusion’ published in Journal of the New Zealand Institute of Architects, Vol. 34, September 1967, pp.270-275.Typewritten (c copy), foolscap, 21 pages (two copies of page 9)walter burley griffin, harold desbrowe annear, robert haddon, seabrook and fildes, roy grounds, geoffrey mewton, edward f. billson, best overent (overend), modern architecture, sydney opera house, ian mckay's c/b/ alexander presbyterian agriculture college, ernest kump, sydney school, california, robin boyd, manuscript

Boyd asks "What sort of cities do we want?" Various alternatives were discussed at the 14th Royal Institute of Architects convention 1965. The theme of the convention was Civic Development, accompanied by a public exhibition "Man in the Street". A fairly clear definition of the ideal shape for our urban character emerged. It was accepted that congestion, dullness and ugliness would become even more of a problem. Boyd offers a bird's eye view of the nature of our cities as we move progressively outwards.Original manuscript of an article published as ‘New life for Cities. The choice – metropolitan excitement or Canberra order?' in The Australian, 10.4.1965.Typewritten (c copy), quarto, 6 pagesroyal institute of architects convention 1965, australian cities, arthur odell, john overall, robin boyd, manuscript

In this article, requested by Architecture in Australia, Boyd condemns the lack of development in the shaping the identity of Australian architecture, similar to the contents of Texas Quarterly 'Architecture in Australia' Vol.5 (see D092), Boyd writes about the need for designers and architects to create a new design language rather than recycling and reminiscing on old British aesthetics despite wanting to gain international recognition.Original manuscript of an article published in Architecture in Australia, Vol.56, No.3, June 1967 pp.454-465.Typewritten (c copy), pencil edits, quarto, 26 pagesPencil corrections and edits in textaustralian architecture, sydney school, architecture in australia, robin boyd, manuscript

Boyd advocates that Canberra's proposed permanent Parliament House needs to be a vital symbol and suggests an open national competition should be used to select the architect.Original manuscript of an article published as 'Young Australia in Steel and Concrete', published in 'The Australian'.Typewritten (c copy), quarto, 5 pagescanberra, parliament house, national competition, robin boyd, manuscript, national capital

Boyd bemoans the fact that Australia looks to overseas engineers, architects and other creative people to design new infrastructure projects.Original manuscript published as 'We're building monuments to the cultural cringe' in 'The Australian' on 10.10.1964.Typewritten (c copy), pencil edits, quarto, 4 pagesaustralian design, imported design, gladesville bridge, robin boyd, manuscript

Discusses and approves of the initiative of Australian architecture students shown by their holding their own architectural convention. The convention tackled the issues of the 'House of Tomorrow' and the types of technology that that can be manipulated and used for better design. Students also invited international guests to comment and judge the exhibition.Original manuscript published as ‘Young architects show their nerve’ in 'The Australian' on 19.06.1965. Typewritten (c copy), quarto, 4 pageseric lyons, tom marshall, john blanshard, patwant singh, robin boyd, manuscript

This summaries the key points of the recently held National Architectural Convention, the first of its kind to be held in Australia, which brought many visiting architects.Typewritten, foolscap, 3 pagesSeveral small ink correctionsarchitecture melbourne; national architecture convention; century of architecture; building industry productivity; city plan for melbourne; australian style; school of architecture melbourne university; international students, robin boyd, manuscript

Boyd questions the public's and architect's architectural taste - especially developing a style that would define Australian Architecture. He addresses the lack of commissioning of Modern Architects while Modern Architecture became the main preference in architecture 30 years prior to the written text. Frustrations towards people selecting styles that are 'familiar' rather than trying to be 'avant-garde'. Otherwise, Boyd challenges architects looking towards American Architecture as precedents.This appears to be a unpublished lecture. It is marked up for presentation with slides (indicates LIGHTS) when delivering a speech.Handwritten (pencil), quarto, 15 (page numbers on centre top up to 16, page 10 missing) pagesSpots of coffee stainsaustralian school, architecture, american embassy in new delhi, walter richmond butler, robin boyd, manuscript

Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13

This oil sketch by Donald Laycock is for "Terra Australis", a large (20' X 8') outback desert scene commissioned by Robin Boyd for the Australian Pavilion at Expo 1970. Robin Boyd was the Exhibit Architect of the Australian Pavilions at Expo '70 in Osaka and Expo '67 in Montreal. It is not known what happened to "Terra Australis" after Expo '70.Red toned abstract composition."DL 69" in bottom right corner. Sketch for Terra Australis Exhibition '70" written on canvas around the frame on the rear.donald laycock, expo 70, osaka, robin boyd, walsh st artwork, ohm2022, ohm2022_32

This is a souvenir spoon from Expo 67 in Montreal Canada. Robin Boyd gave it to Linley Vellacott, an architect who worked at Romberg and Boyd, after he visited Expo 67, where he was Exhibit Architect for the Australian Pavilion. Linley Vellacott donated it to the Robin Boyd Foundation. expo 67, walsh st miscellaneous, robin boyd

In 1969 Robin Boyd was awarded highest RAIA Gold medal, the highest honour.Gold medal (65mm diameter) with design on both faces. (a) RAIA medal with architect and guild figure and stone structure (b) Artem promovemos una Two kangaroos holding shield with wall and column structure. The medal set into a black velvet. The back is black leather in a timber frame. 405mmH X 330mmWThe back of the timber frame is inscribed with //PARTH-40'E' - F + G.royal australian institute of architects award. raia award, royal australian institute of architects gold medal, raia gold medal, robin boyd

Softcoverteam x, architecture's public, architecture of participation, political architecture, walsh st library

SoftcoverNonnemodern architecture, 1970s' architecture, public role of architect, walsh st library

Announcement that young architect Robin Boyd is speaking at Union Night. The talk is titled "Why is Australian Architecture So Bad?" and will be illustrated with films.walsh st library

Announcement that Sir Arthur Stephenson has been elected an honorary Fellow of the American Institute of Architects. He is the second Australian to be so honoured - Robin Boyd being the first in 1960.walsh st library

SoftcoverNewspaper article from Bulletin Review about Robin Boyd and the series "Melbourne Architectural Papers", of which this is one as well as Number 1918 and 1019pop architecture, 1970s' architecture, walsh st library

This issue of 'Architect' is a tribute to Robin Boyd's life and work following his death on 16 October 1971.Soft Cover MagazineInscription inside front cover from Neil Clerehan - "Patricia: This is the first copy off the press. Many errors. Bad register on colour pages etc etc etc but it's here. for you. from Neil, Dec 10 '71". Retrospective of Robin Boyd's life and work.robin boyd, architecture, australian architecture, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover w/ Dust JacketWritten by Boyd, with printed inscription "It compensates for half-recognized inadequacies in the sunny, wideawake life."australian satire, national characteristics, humor, 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

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, 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