In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Borodino Battle Panorama Museum, Moscow, USSR, 1960. (Architect: Mikhail Vasilyevich Posokhin.)Made in Australia / 7 / AUG 64M / Encircled 14 (Handwritten) / 10 (Handwritten)the puzzle of architecture, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Rikkyo University Library, 1960, Tokyo, Japan. (Architect: Kenzo Tange.)Made in Australia / 11 / 7 (Handwritten)japan, slide

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Image from magazine, The Penthouse, Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA. (Architect: Paul Rudolph.)Made in Australia / 8 / OCT 64Mslide, robin boyd

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. Art and Architecture Building (1958-64), Yale University, New Haven, Connecticut, USA - image from a page of a magazine. (Architect: Paul Rudolph.)Made in Australia / 12 / OCT 64Musa, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Communications Centre in Kofu, Japan 1966. Now known as the Yamanashi Broadcasting and Press centre (model) (see also S0594) - image from a page of a magazine. (Architect: Kenzo Tange.)Made in Australia / 5 / OCT 64Mjapan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Hiroshima Peace Memorial Museum 1951-3, Hiroshima, Japan. (Architect: Kenzo Tange.)5japan research trip, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Children's Peace Monument, Hiroshima, Japan. (Architects: Kazuo Kikuchi and Kiyoshi Ikebe.)9 / 12 (Handwritten)japan, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life.Colour slide in a mount. West German Pavilion, Montreal Expo '67, Canada. (Architects: Frei Otto and Rolf Gutbrod.)Made in Australia / 3 / APR 67M4 / Encircled 28 (Handwritten)expo 67, montreal, robin boyd, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Kurashiki Town Hall (1960), Kurashiki, Japan. (Architect: Kenzo Tange.)Made in Australia / 20japan, slide

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka. Boyd called it the Sogetsu Art Center in his book “Kenzo Tange”, where it is extensively illustrated (Plates 77-82).Colour slide in a mount. Sogetsu Art center (1958), Tokyo, Japan. (Architect: Kenzo Tange.)Made in Australia / 18japan, slide

The Rupertswood Gatehouse, iron fence and gates are of state historical and architectural importance as they are probably the most distinctive structures of their type in Victoria.A coloured photograph of the Rupertswood Lodge, iron fence and gates. At the gateway there are double gates and two single gates on either side. The four gateposts are stone with a decorative finish on the top. The double gates are open so the roadway into the Rupertswood estate is visible.clarke, william john (sir), rupertswood gatehouse, salesian college, george evans collection

The bluestone 'road over rail' bridge at Macedon Street is of state architectural, architectural, historical and engineering significance. It spans the first government regional railway. Its design and building was done according to strict English standards and made use of a bridge crossing instead of a level road crossing.A black and white photograph of a stone bridge with an eliptical arch spanning two rail tracks. A workman is standing between one set of tracks in the foreground and a railcart is next to the tracks. The station, footbridge and water tower are visible through the arch.road over rail bridge, bridges, sunbury railway station, water towers, pedestrian bridges, stone bridges, george evans collection

Villa Maria, later known as Villa Mar has a close association with the Catholic Church, with identifiable and notable Catholic attributes such as the inner courtyard and chapel on the villa. It also is symbolic of a rural retreat which the Beaconsfield area was once noted for.This house is a symbolic representation of the Federation Bungalow architectural style, with influences of catholic attributes.Colour rectangular photograph developed on matte photographic paper.N/Abeaconsfield, cardinia shire, villa maria, villa mar, architecture, catholic church

Villa Maria, later known as Villa Mar has a close association with the Catholic Church, with identifiable and notable Catholic attributes such as the inner courtyard and chapel on the villa. It also is symbolic of a rural retreat which the Beaconsfield area was once noted for.This house is a symbolic representation of the Federation Bungalow architectural style, with influences of catholic attributes.Colour rectangular photograph developed on matte photographic paper. N/Avilla maria, villa mar, architecture, catholic church, beaconsfield, cardinia shire

In the Sunshine Advocate of 21/03/1925 it is reported that Wunderlich Ltd decided to establish works in Sunshine for the manufacture of terra cotta and faience for the facing of city buildings. The product was intended to imitate granite, which would give a brighter appearance to concrete walls. A stone surface finish to the terra cotta could be achieved by applying a variety of colour combinations of glazes with a special 'spackle' gun. A building that is still standing and has the imitation granite finish terra cotta is the Nicholas Building at 21 - 47 Swanston Street, Melbourne. The Nicholas Building was designed by Harry Norris for Alfred Nicholas (Aspro fame), and was built during 1925 - 1926. The building is classified by the National Trust (B4079) and has the Victorian Heritage Register (H2119). During my employment in the factory from 1964 to 1969 the tiles were generally faced with single colour glazes. For some small jobs a light coloured mottled finish was achieved by spattering a white glaze over a cream coloured background or vice versa. There were no imitation granite jobs done, probably because of changing attitudes to the intended appearance of buildings. The green coloured tile in our collection is an unfinished (untrimmed) retain tile typical of the green coloured tiles that were made for the two stages of the Commonwealth Centre Building (colloquially known as the Green Latrine), that was once located on the corner of Spring and Victoria Streets in Melbourne. Similar coloured tiles were also used on some shop fronts. The Commonwealth Centre Building no longer exists, however the Century Building at 125 - 133 Swanston Street, Melbourne is covered with single coloured tiles (white). The Century Building was built in 1939, with the architect being Marcus Barlow. The Building is classified by the National Trust (B4045). Our tile along with several others were headed for dumping among the asbestos waste at the rear of the two Wunderlich factories (Circa 1968). With permission from the Factory Superintendent of the Terra Cotta factory they were saved and taken home. Several are still in use as pavers around a barbecue in Melton from where our tile was obtained. It should be noted that the Wunderlich Architectural Terra Cotta factory in Sunshine did not manufacture terra cotta roofing tiles, as reported in the Brimbank City Council Post-contact Heritage Study HO 073 former Wunderlich now West End Market. Wunderlich terra cotta roofing tiles were manufactured at their factory in Mitcham Road, Vermont. Document HO 073 contains at least 3 errors. Other References: (1). http://nla.gov.au/nla.news-article74726224. (2). Armstrong, J. 'Investigating the historic and current use, manufacture and conservation of architectural terra cotta and faience USA & UK'. This tile is an example of the type of facing that was applied to city buildings for over 40 years from the mid 1920's. As building techniques changed the need for this type of facing diminished, and so the factory was eventually sold and demolished. A free standing tall chimney stack which serviced two of the kilns was a significant feature of the North Sunshine skyline. A part of the history of Sunshine disappeared with the demolition of the factory and the chimney stack. Only the façade of the finishing section of the factory where tiles were trimmed and stored remains. Off-white/beige architectural terra cotta tile with green coloured vitreous glaze on the face of tile. The rear of tile is ribbed. wunderlich limited, terra cotta, architectural, commonwealth centre, spring street, sunshine, mcintyre, victoria street, faience, faence, imitation granite, nicholas building, century building

1996 Nillumbik Art in Public Places Award (installed late 1997). A biennial program that ceased in 2007. The program commissioned artists to make and install public art in various sites around the Shire. Award judges that year were Tony Trembath and artist Peter D. Cole. Susie Kumar has a Bachelor of Landscape Architecture degree from RMIT and Naomi Kumar has a Bachelor of Fine Art in photography degree from VCA. The Kumar sisters designed the sixty meter gently curving bench in response to the topography of the site, Conventry Oval. The sculpture is designed to describe the boundary between the formal oval and the natural creek bank and a considered relationship to the bike track and the river. It forms a link between the activities and aesthetics of its environment. The work is a comical interpretation of the utilitarian public bench. From a distance the bright red runners (the colour of the local football team's stripe) appear to float about the surrounding green. One end of the work is straight and finished. The other remains 'unfinished' hence allowing for the concept of unlimited extension. The 'legs' (steel hurdles) are arranged with a sense of movement and rhythm in sympathy with the activities happening around the work and with the stands of trees in he background. 'Benchmark' also serves as a functional purpose; providing a choice of places to sit to watch action on the oval. Stainless steel, timber (Victorian Ash) and red enamel paint. Sixty meter long red bench that gently curves in response to Conventry Oval. Bolted on top of evenly spaced stainless steel hurdles, four rows of timber runners are joined to provide unbroken continuous lengths. The bench stands on a framed bed of crushed rock (Lilydale topping).N/Abench, sport, wood, victorian ash, stainless steel, public art, ekphrasis2017

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals. Murals created during the second half of the 1960s and into the 70s can/could previously be found at Southland Shopping Centre in Cheltenham, Melbourne (1968) - now demolished, the National Mutual Centre, Melbourne (1964-5) - now demolished, Dee Why Library, Sydney (1966), Woden Valley High School, ACT (1967), Tullamarine Airport, Melbourne (1969, 1970), Perth Concert Hall (1971) and University of Melbourne (1975) (with John Olsen). Sanders has worked with many of Australia’s pre-eminent painters and ceramicists including Fred Williams and John Olsen. In 2015 Nillumbik Shire Council will be installing a mural by Sanders, donated by Tom and his family before Tom passed away in 2009, for the redevelopment of the Eltham Town Square. During the 1970s Sanders produced a number of tapestry designs. Highly respected artist and one time local resident Hilary Jackman worked with Sanders developing and adapting his tile designs to be translated into silk tapestries that were made in Japanese Mills of Kawashima Orimono in Kyoto. They were displayed in the big Hall in the NGV. Sanders gave these tiles to Jackman as payment for her work. The tapestries are based on abstract designs and have a cotton warp, and silk weft. The tiles are similar to Sanders’ other mural works such as Wall of the Moon (Homage to Miro) and the mural located in the Perth Concert Hall. It’s clear that Sanders was inspired by the Spanish surrealist artist Joan Miro from the 1930s in both philosophy and style. Miro’s work is quite playful, symbolic and imaginative. Miro’s preference for painting like this was “to express contempt for conventional painting methods, which he saw was a way of supporting a bourgeois society”. He "famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.” Three earthenware tiles, embossed with an abstract linear design. N/A

Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

This photograph informs the viewer of the grand ballroom at Rippon Lea homestead in Elsternwick in the late 1800s. One of 33 rooms in this mansion, built for Fredrick Sargood in 1868, the ballroom stood where the swimming pool is currently located. Louisa Jones’ (nee Nathan) love of the 1930s Hollywood style prompted her to demolish the old ballroom and replace it with the swimming pool. She converted Sargood’s billiard room into a ballroom during the late 1930s. Large black and white photograph (now sepia with age) in a ' landscape format' mounted on cardboard. The room featured in the image has an arched dome-shaped roof, a floor adorned with rugs, a vast and heavily ornate space and approximately 12 wicker chairs in the foreground.Written on verso of mount: 'Ballroom & organ at Rippon Lea' Stamped onto front left bottom corner of photograph: 'Johnstone & O'Shannessy/ & Co./ Propy. Ltd/ Collins St. Melb.' rippon lea, 1890s, ballroom, architecture, decorative arts, sargood family

Tunnel ventilation structures - locations and architecture. Eastern Freeway extension, Springvale Road to Ringwood.Tunnel ventilation structures - locations and architecture. Eastern Freeway extension, Springvale Road to Ringwood.vicroads, eastern freeway extension