Discusses the styles and aspirations of modern architecture post World War 2 in contrast to pre-war architecture (incomplete manuscript).Handwritten, quarto, 1 pagele corbusier, eero saarinen, modernism, world war 2, 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

This is a manuscript associated with the Royal Australian Institute of Architects Convention, "Civic Architecture, the Architect and Society" which discusses city development. Boyd argues that an Australian architectural style is growing with the contemporary generation of architects departing from international modern architectural influences from which they studied. Boyd explains how a pattern of Australian architecture can be seen through materiality and the expression of structure.Typewritten (c copy), foolscap, 4 pages (two copies)Minor handwritten edit on both copiesroyal australian institute of architects, convention, technology, australian cities, urbanism, australian architecture, international modern architecture, walkabout, robin boyd, manuscript

Excerpt labelled page 10. Boyd criticises vulgar mess in the streets and irrelevant ornament. He asks if all externalities were swept aside, which architects, faced only functional and structural challenges of a building, what shape would we like architecture to take?Typewritten, pencil edits, foolscap, 1 page. Untitled single page (10)Two handwritten pencil editsfunctionalism, ornament, robin boyd, manuscript

Boyd argues that modern architecture has triggered a necessity for greater harmony between architects and engineers. Boyd describes the architectural qualities of tension structures through an analysis of several case studies including projects by Frei Otto and Boyd's own house at Walsh St. Being a relatively new concept, Boyd criticises the neglect towards smaller buildings in this structural system, and also highlights some of its shortcomings. A 2-page letter from 'Arthur' (surname unknown) at the University of Melbourne's Department of Civil Engineering provides feedback to Boyd on his analyses of the chosen case studies.Original manuscript of article published in The Architectural Review Vol.134, No.801, November 1963, pp. 324 - 334. This draft was returned with covering letter from: ‘Arthur’ (AJF) Melbourne Uni. Dept Civil Engineering. Typewritten (c copy), foolscap, 14 (+2 quarto letter) pagesMinor handwritten editsengineering, tensile structure, master-designer, bernard lafaille, zagreb french pavilion, matthew nowicki, livestock pavilion, frei otto, paul rudolph, florida house, bill irwin, kevin borland, peter mcintyre, john and phyllis murphy, yuncken freeman, sidney myer music bowl, eero saarinen, yale hockey rink, edward d. stone, brussels u.s. fair pavilion, boston arts centre, walsh street, robin boyd, manuscript

Boyd discusses the exhibition buildings in Expo 70, Osaka, saying that they fall into two distinct categories, sophisticated or naive. Boyd is critical that Japan did not present a view of the future, which might have been expected of it. This manuscript was published under the title ‘Expo and Exhibitionism’ in 'Architectural Review 'Vol.148, No.882, August 1970.Original manuscript of article titled ‘Expo and Exhibitionism’ published in 'Architectural Review' Vol.148, No.882, August 1970, pp. 99 -100 & 109 &110.Typewritten (c copy), foolscap, 3 pages. (2 copies)osaka, expo 70, expo 67, archigram, metabolism, japanese architecture, kenzo tange, noriaki kurokawa, takamitsu azuma, sumitomo pavillion, takara pavilion, gas pavillion, yoshizawa ryusei, robin boyd, manuscript, ohm2022, ohm2022_31

Using 'Village Green Hotel' as an example, Boyd laments on how the development of new Australian Industries' standard of design comfort is rather 'un-Australian'. Further, he criticises how the evolving style of Australian architecture is predominantly inspired by international precedent and questions whether taking foreign elements is considered an Australian style.Original manuscript of an article published as ‘Fun and games at the Village Green’ in The Australian, 03.07.1965.Typewritten, quarto, 4 pagesvillage green, 'un-australian', robin boyd, manuscript, hotel

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 questions the current rules of architecture, as do the young architects of the period - the idea of usefulness, firmness, delight and beauty in the visual environment. He says we will only get a more exciting architecture if we ask the question posed in the title.Typewritten pencil edits, quarto, 7 pagesReferences Morris Lapidus and an exhibition at The Architectural League of New York occurring "late last year". URL reference says it occured in 1970.usefulness, firmness, architecture's purpose, role of architecture, robin boyd, manuscript

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

Part of a speech that Boyd gave on receiving an honourary Doctorate of Letters awarded by the University of New England. Boyd proposes that Architecture is the Third Culture, combining art and science.Handwritten, pencil, incomplete, quarto, one page, finishes mid-sentencedefinition, third culture, speech, robin boyd, manuscript

Drafts of various writings/speeches by Boyd. One page written in blue and red ink appears to be a draft for 'The Value of Expos' (see D112) that is taken in point form. One page written in pencil and green ink appears to be a draft for an article on Australia moving forward to modern architecture after WWII and the potentials of Skyscrapers and prefabricated housing.Handwritten, quarto, 3 pieces: x2 are folded, x1 small paper slip pagesexpo 64, prefabrication, archigram and metabolism, robin boyd, manuscript

The article argues that quality education lies in good infrastructure and architectural design. Boyd suggests that educational buildings are a potential for architects to push their imagination to provide quality spaces - as required by law1 Typewritten, pencil edits, 2 Typewritten (c copy), quarto, 5 pages. (Two copies)education, 'victoria's school-building programme', robin boyd, manuscript

Short descriptions to accompany illustrations on colonial architecture, the verandah tradition, and domestic single storey homes.Typewritten (c copy) on Grounds Romberg Boyd letterhead, quarto, 3 pagescolonial architecture, verandah, robin boyd, manuscript

The article celebrates Walter Burley Griffin and the impact he has had on Australian architects. Boyd calls Griffin 'America's greatest ever export to Australia after the T-model Ford'.Original manuscript for an article published in "Australia" (Los Angeles), Vol.2, August – October 1964, pp.13-15.Typewritten (c copy), quarto, 6 pages. (Four copies)american influence, walter burley griffin, capitol theatre, canberra, robin boyd, manuscript

Boyd forewarns that the article is strong on generalisations and not diplomatic. He writes that Australian architecture is old-fashioned, second-hand, rejects sophisticated world fashion trends, and has under-developed professional pride and determination. In the last few pages, Boyd advocates a code of integrity and goodness in architecture, calling on designers to come together and commit to the code.Original manuscript published in Architecture in Australia, vol. 56, no. 3, pp. 454-465.Typewritten (c copy), pencil edits some pages missing, quarto, 26 pagesIncomplete- pages missing, and includes page 8Aaustralian architecture, sydney school, perth architecture, university architecture, code of integrity in architecture, robin boyd, manuscript

Boyd outlines reasons why architecture students and young architects are less outspoken about the quality of architectural design in comparison to older practising architects.Original manuscript published in Meanjin, Vol.17 No.78, pp. 175-178. It was reprinted in the 'Architect' (Perth) Vol.3 No.53, pp. 26-27.Typewritten (c copy), quarto, 6 pagesarchitects, 'slate' magazine, robin boyd, manuscript

Boyd discusses the things that influence architects to devise form, particularly the relationship between the engineer and architect. He gives a history of the Opera House and Jørn Utzon's creative process in relation to debates around functionalism and the justification for sculptural forms.Typewritten (c copy), pencil edits. 2nd copy 34 q 4-6 missing, quarto, 34 pages. (Two copies)functionalism, le corbusier, ronchamp chapel, sculpture, guggenheim gallery, jørn utzon, sydney opera house, robin boyd, manuscript

Description of a Tasmanian Style of domestic architecture as developed by colonial builders and the occasional architect. Boyd admires the ingenuous nature of these buildings, describing Tasmania as a living museum.Published as ‘Tasmania – The Houses’, pp.15 - 16 in 'Priceless Heritage: Historic Buildings of Tasmania', Platypus Publications, Hobart. 1964 Typewritten (c copy), quarto, 4 pagestasmania, colonial georgian, robin boyd, manuscript

An opinion article on the direction of modern architecture (c.1960s?), identifying two previous 'phases' described as Functionalist and Fun. Boyd goes on to identify a third phase, typified by the work of Kahn, Tange, and Rudolph, which synthesises the rationality of early modernism with the monumentalism of later modernist work.Typewritten (c copy), foolscap, 4 pagesbauhaus, ciam, kenzo tange, louis kahn, paul rudolph, robin boyd, manuscript

A review of the two books 'The New Architecture and the Bauhaus' by Walter Gropius and 'Garden Cities of Tomorrow' by Ebenezer Howard, on the occasion of their reissue as paperbacks.Original manuscript published as "Ahead of the trend" in the 'The Australian' on 05.06.1965.Typewritten (c copy), quarto, 5 pagesadelaide, bauhaus, canberra, deutscher werkbund exhibition, elizabeth, garden cities, walter gropius, ebenezer howard, letchworth, lewis mumford, welwyn, yallourn, 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

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

In this handwritten text of a speech to the Victorian Fabian Society, Boyd addresses the question: Is Australia Ugly? He argues that the issue with Australian cities is primarily in the realm of urban design rather than architecture. Boyd outlines the types of ugliness in the urban domain, comparing attitudes to Australian cities to those elsewhere, particularly the United States.Speech to Victorian Fabian SocietyHandwritten, quarto, 15 pages, missing pages 11-16.victorian fabian society, george johnson, eric westbrook, steven murray-smith, fred ledgar, south eastern freeway, lyndon johnson, robin boyd, manuscript

Discussion of contemporary church architecture. Boyd disapproves of inappropriate and unnecessary ornament.Original manuscript of an article published as "Churches get Curiouser" in The Australian on 26.06,1965.Typewritten, quarto, 5 pages. (Two copies)Minor hand edits on second copychurches, laminex, mareeba, auckland, robin boyd, manuscript

A discussion on the evolution of the contemporary churches in Australia. Boyd praises the attention to detail on the materials used in church architecture and the potential lessons that can be brought forth to other buildings beyond the design of modern churches.Typewritten (c copy), quarto, 5 pageschurches, modern architecture, photography, robin boyd, manuscript

Boyd argues that the Australian cultural split between what he perceives to be cultured tastes and artistic achievements and the tastes of ordinary Australians is wider and more polarised than in other countries. He derides commercial radio, popular women's magazines, public commercial streets etc - elements of the Australian ugliness. He praises the growth of local contemporary art, literary magazines and architecture, whilst calling for the development of community pride amongst leaders of commerce and industry, and government control of the ugliness of popular culture. This may have been published in "Walkabout" magazine.Typewritten (c copy), quarto, 11 pagesart, egalitarianism, sidney nolan, australian painting, pop art, phil may, dyson, low, media, cartoons, australian literature, radio, california cultural heritage board, commercial advertising, robin boyd, manuscript

Scene setting article for an RAIA national convention in Sydney. Discussion of the idea of time lag and Australian design and the nation's biggest buildings having been designed in the USA.This was an article for Sydney Morning Herald Architecture Convention feature. An extended article of the same title was published in "Architecture in Australia", vol 56, no 3, June 1967, pp 454-465.Typewritten (c copy), quarto, 6 pagesfrancis greenway, edmund blacket, motels, william wardell, minoru yamasaki, united states, robin boyd, manuscript

Rough, heavily annotated notes for lecture to be given to a Brisbane audience. Boyd divides modernist architects into a Romantic camp (citing Yamasaki, I.M. Pei, Paul Rudolph, Ed Stone) and a Realist camp (citing Kenzo Tange and the New Brutalists), then proposes a third category of 'Creative Realism' and defines some criteria for this type of architecture.Speech given to students at the University of Queensland 24.6.1962Typewritten, major pencil edits and additions, foolscap, 1 folded pagesExtensive handwritten edits, notes and revisionsminoru yamasaki, i.m. pei, paul rudolph, edward stone, kenzo tange, robin boyd, manuscript

Long slideshow talk on beauty in architecture and the progress of the modern movement.Talk illustrated with slides.Handwritten, quarto, 8 pagesSlide number markings. Missing many pages: 2, 6-17, 19-22, and more. Has written "LIGHTS" cue for end of talk.john ruskin, eero saarinen, paul rudolph, plato, vitruvius, beauty , robin boyd, manuscript