The two identical bookcases probably date to the 1960s-70s period and retain their original light wood finish. They contain two adjustable shelves as well as the base shelf and stand on four legs braced by a stretcher extending across the front and around the sides. The bracing and the angled slightly curved front legs, which do not align with corners of the cabinet, produce the appearance of a box resting on a separate frame. These modern style bookshelves are examples of the low-cost furnishings that the Commonwealth Lighthouse Service (CLS) introduced to Australian lightstations in the post-war years. Most notably, it commissioned a number of light, compact and functional items in bulk from émigré designer, Steven Kalmar (1909-1989), who played a significant role in popularising modernist design concepts in Australia and drew his ideas from Scandinavian and American design trends. Born in Hungary, he trained as an architect and his contemporary affordable furnishings were especially suitable for the open-plan houses being built in Australia’s new post-war suburbs. It is not known whether the bookcases bear the Kalmar label, but the design, particularly the legs and bar bracing, is a signature style of his Sydney-based firm, Kalmar Interiors. The CLS supplied the same bookshelves to a number of other lightstations, including Cape Nelson (3 examples), Cape Otway and Gabo Island (2 examples), as well as other types of furnishings such as tables and nests of coffee tables, cabinets, drawers, bedside tables. The Point Hicks bookcases original function was more likely office-related rather than domestic. The bookcases have first level contributory significance for their provenance and historic value as examples of the modernist furnishings that the Sydney-based firm, Kalmar Interiors supplied to the Commonwealth Lighthouse Service in the post-war years.Two bookcases in the Scandinavian style. Each have 3 internal shelves and four legs, light coloured wood.

Ill, p.232.non-fictionThe following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form. art, design

The clock parts were discovered in 1980 by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands and then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. This group of brass clockwork parts is incomplete. The pieces were in the ocean for over 100 years before Julie recovered them from the Loch Ard wreck. Their size would suit the works of a carriage clock, with a mainspring and weight to power the clock movement, a pendulum to measure the clock's speed, arbours, posts, pillars and at least one other plate. They would have been mounted inside a protective case with a small door to easily access the clock face for setting the time and accessing the key's winding hole. The clock cases were usually made from decorative gilt brass with a glass front and a carrying handle. The parts include a weighted second hand with a decorative four-pronged finish at one end, a rounded weight at the other, and a hole for attaching it to the clock face. The gear teeth profiles are ‘cycloidal’, an arch shape with vertical sides, which is common for antique clocks. Modern clockworks have ‘involute’ teeth with sloping sides and a squared-off top. The brass carriage clock parts are an example of a mechanical clock produced in the 1870s. The clock's design is a part of the chain of technological improvements in methods for timekeeping. Its cycloidal gear teeth were the forerunner of the more modern involute gears. The group of clock parts includes a weighted hand or arm for signifying the seconds. This feature was uncommon in portable Victorian-era clocks. The clock parts are also significant for their association with the ill-fated sailing ship Loch Ard, wrecked in 1878. The travelling clock or officer’s clock may have been part of the cargo destined for the 1880 Melbourne Exhibition, or the personal possession of one of the people on board the vessel. Brass clockwork parts from a mechanical clock, sixteen pieces. Parts comprise a plate, large gears or wheels, small pinions or wheels with fine teeth, wheels with cogs, and a weighted second hand. The parts were from a carriage clock ca. 1878. They were recovered from the wreck of the sailing ship Loch Ard.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, clock, mechanical, clock parts, time, timekeeper, horology, chronometry, cogs, time keeping device, scientific instrument, chronometer, john harrison, longitude, carriage clock, coach clock, portable clock, travelling clock, travel clock, traveller’s clock, officer’s clock, weighted second hand, victorian era, cycloidal gear teeth, brass clock, julie wilkins

Poster or pamphlet titled "Modern Trams", with the MMTB name and logo on top of the sheet advising of the proposal to acquire 100 new trams to replaced the oldest vehicles. Notes the base design for the vehicles, seated conductor, entry and exit doors and that it was recommend in the Melbourne "The Transportation Plan" and that 900 such vehicles would be needed before 1985.trams, tramways, mmtb, new trams, plans, z class, melbourne transportation committee, transportation plan

Wooden Wax Sealing stamp - wood handle with a small brass stamp with the letters "R.Ty." and "I" or "1" underneath. See e-mail message from Andrew Cook dated 3-2-2019, Andrew advised "That is a wax seal (see attached image of a modern day one). You can still buy them to this day. I'm only guessing, but maybe the seal came from one of Melbourne's cable tram depots? 'R' could possibly stand for 'Richmond' or maybe 'Revenue'. See: https://milligram.com/creativity/wax-seals - accessed 22/2/2019 for samples of the seals and the stamps - very similar in design.trams, tramways, mmtb, revenue clerks, tickets

Pamphlet - set of two A4 size full colour single side documents, titled "058:Makeover - Thoroughly modern Millimetre - Melbourne trams have got a new look" and "060 Makeover" about the application of the Yarra Trams" graphics or Corporate Identity to the C class trams by Millimetre, previously known as MYD Graphic Design. Details the basis of the design, the new C class trams, design considerations and the design brief. Has a photos of the exterior of C3003 and the interior design. Written by Stephen Huxley for Swinburne University. Two copies of each held.trams, tramways, yarra trams, c class, livery, colour schemes, tram 3003

Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. After meeting for 14 years in rented remises, in the Prince of Wales Hall, Wodonga Council built its first Shire Hall on the corner of High and Elgin Streets in 1890. The date on the façade of the building, 1876, represents the date of the formation of the Shire. In 1957 the second Shire Office was built in Woodland Grove by A.B. and M. A. Chick. These offices were considered more than adequate for future needs. The façade featured floor to ceiling windows and several different meeting rooms in addition to the council chamber, which featured an impressive “horse shoe” table. It also included a kitchen equipped with modern fittings and a President’s room. In the late 1960s the area between Hovell and Havelock Streets as far as Jack Hore Place was zoned for civic purposes. In 1969 plans for a civic centre providing a library, theatre and senior citizens’ rooms. It was opened on 22 April 1971. In 1973, the Council engaged Bruce Marshall to design new offices beside the Civic Centre. Jennings Industries were contracted to complete the offices. The Governor, Sir Henry Winneke, laid the foundation stone of the new offices on 10 March 1976. The Civic Centre was demolished in 2011 to make may for a new $10 million community and entertainment centre which opened in August 2012.These photos are significant because they depict the different buildings which have housed the centre of local government in Wodonga since its inception as an independent shire in 1876.A series of photographs depicting the different buildings used to house the Wodonga Council and Civic buildings over time.wodonga civic buildings, wodonga council, shire of wodonga, rural city of wodonga

Ramon (Ray) Francis Honisett (11.04.1931 - 30.08.2019), Fellow RMIT and medallist specialised in philatelic design, marine and military aircraft painting art and was active in the 1960s - 1990s. Ray Honisett used to live in Rye, in the Mornington Peninsula. According to Gavin Fry's book: The painting likely depicts the Lysaght Endeavour loading at Hastings. "The Lysaght Endeavour and its sister ship Lysaght Entreprise were built in Newcastle in 1973 specifically to serve the regional steel industry on the route Port Kembla - Westernport - Adelaide. Even after being lengthened by 17 metres, the two ships had remarkably short working lines, with both being broken up by 1988."Maritime artLarge framed unglazed landscape format painting predominantly green depicting in foreground a merchant vessel, a roll-on roll-off cargo ship moored at a single quayside on a river or river mouth. The middle ground shows a moderate solid jetty leading to large storage sheds at right. The background appears primarily rural with fields and hills in the distance. The location is probably Hastings Western Port in Victoria - notice the forklifts loading rolls of steel produced at the nearby steel rolling mill - the buildings in the distance. You can see the rolls of steel lined up on the hard stand to the right of the ship. The funnel colours suggest the Australian National Line. The frame incorporates a beige fabric slip with gilt edge the actual dark wood frame also with inset banded gilt edge. The back of the painting is covered with brown paper in places damaged. Hangs on a cotton cord threaded between two screw in eyelet hooks.at lower right corner single uc word in black paint : "HONISETT"tankers, marine painting, maritime art, ramon honisett, ray honisett, anl maritime art prize, acta maritime art prize, hastings, western port, victoria, steel, roll on roll off, forklift, mornington peninsula, artwork-paintings

Scandinavian design in furniture and accessories was very popular in the 1960s - 70s as represented by these two minor decorative candle holders of the period.A small example of the very popular designs reflecting Scandinavian influences of the period.In the modern Danish style of 1970s.etched underneath each holder 'Stelton stainless 18/Denmark.' denmark, stainless, ballarat, 1970s, wedding present

Monash Bridge spans the Diamond Creek at Hurstbridge. It was built in 1917 for the Shires of Heidelberg, Eltham and Whittlesea. It is considered Nillumbik Shire's finest engineered bridge and was construced by the engineering company of Sir John Monash. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p117 Monash Bridge is considered the Shire’s finest engineered bridge and was constructed by the engineering company of that great Australian, Sir John Monash.1 The bridge spans Diamond Creek on the Hurstbridge-Arthurs Creek Road, linking Hurstbridge with Yarrambat and Arthurs Creek. Monash Bridge, also called Hurst’s Bridge, was built in 1917, by the Reinforced Concrete and Monier Pipe Construction Company Pty Ltd, for the Shires of Heidelberg, Eltham and Whittlesea. Although Monash was probably in action overseas during World War One when the bridge was designed and constructed, he evolved the basic design in the 1900s and it was a standard design for the firm. However J A Laing, a designer at the firm, was probably the designer, as his initials are on bridge drawings held by the Eltham District Historical Society.2 The bridge is an excellent early Australian example of an open spandrel reinforced concrete arch bridge and has a single span of 29 metres. It is unusual in Victoria, but similar to many reinforced concrete arch bridges in Europe and America, built from the late 19th century. In Victoria, Monash pioneered the use of reinforced concrete – then a revolutionary construction material. His company, Monash & Anderson, had the exclusive licence for the Monier patent for the system of reinforced concrete construction for Victoria and New South Wales. A well-known example of the Monier arch bridge is the Morell Bridge in South Yarra. The sweeping arch of the Monash Bridge combines grace and utility and blends with the surrounding rural landscape. Its design and construction have allowed it to carry increasing volumes of heavy traffic, but in modern times the one lane is considered by some to prevent easy passage through Hurstbridge. However others consider this an asset to deter too much more traffic, which would diminish Hurstbridge’s charming rural character.3 This is the third bridge across the Diamond Creek at this site. The original bridge was a log bridge upstream, constructed in the 1850s by early settler, Henry Hurst, after whom Hurstbridge was named. The bridge spanned the creek, where it divided his family’s property. In the 1880s a timber bridge replaced it, known as Hurst’s Bridge. However a more permanent bridge was considered necessary when the new railway arrived in 1912, bringing with it expectations of growth in the town and the surrounding fruit-growing district. Monash Bridge’s official opening on November 3, 1917 was a gala occasion, which took place before about 1000 spectators. Two who attended the opening had a particularly sound knowledge of the locality. One was Fred Hurst, Henry’s brother, who used to ford the creek at or near the bridge’s site more than 50 years before. The other was John McDonald of Arthurs Creek, who had built the old wooden bridge over the creek about 40 years earlier.4 Although John Monash was a fine engineer, his fame came from his brilliant war career, rather than from his engineering or his many other achievements. Monash was Corps Commander of the Australian Forces. His brilliance was recognised with his awards: Knight Grand Cross of the Order of St. Michael and St. George, and Knight Commander of the Bath. Monash was also decorated by the French, Belgian, and American Governments.5 After the war, Monash worked in many prominent civilian positions, the most notable as head of the Victorian State Electricity Commission. He was a leading and loved public figure, involved in many public and private organisations. He was president of the Australian Zionist Federation and involved in the Boy Scouts. Monash University is named after him. By the 1920s Monash was probably regarded as the greatest living Australian.6 Despite most of his life working as an administrator and leader, rather than a fighting soldier, he became integral to the ANZAC legend. Monash died in 1931.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, hurstbridge, monash bridge

The dam at the entrance to the Nerreman Gateway in Eltham was built according to an internationally acclaimed theory developed by the builder's father. In 1920, Victorian engineer B.A. Smith was awarded the American Society of Civil Engineers J. James R. Cross Gold Medal for his Technical Paper titled 'Arched Dams'. It was the first time this medal had been awarded outside the United States. The concrete arched dam across the Eltham West Drain was built in 1940 by B.A. Smith's son and engineer, D. B. (Bernie) Smith to water the 24 acre (9.75 ha) hobby farm owned by himself and new wife, Isa Smith. Upon completion of the dam a pump-house was constructed beside the creek but before the water could be pumped up the hill they had to dig a trench and lay 500m of 100mm water main to an elevated holding tank. The Smiths made the pump-house their home for several years until they constructed their home at the top of the hill overlooking Eltham and views extending to Kinglake. Following Bernie's death in 1983, Nerreman Park was subdivided between 1993 and 1995. Gordon Ford designed the landscaping and the pump-house was demolished. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p137 The dam at the entrance to the Nerreman Gateway in Eltham, was built according to an internationally acclaimed theory developed by the builder’s father. In 1920, Victorian engineer B A Smith was awarded the American Society of Civil Engineers J. James R. Croes Gold Medal, for his Technical Paper titled Arched Dams. It was the first time this medal had been awarded outside America. An international example of the application of Smith’s work can be found in the design of the Hoover Dam on the Colorado River, Nevada, USA. Built between 1930 and 1936, it is recognised by the ASCE as one of ‘America’s Seven Modern Civil Engineering Wonders’.1 The concrete arched dam across the Eltham West Drain was built by B A Smith’s son and engineer, D B (Bernie) Smith. Bernie’s dam followed his father’s theory, having a curvature that takes maximum advantage of concrete’s great strength in compression. The water load is carried into the abutments because of this curvature, which permits a wall thickness of only 225 millimetres thick at its crest, despite the dam’s capacity of more than 4.5 megalitres. The Eltham dam was designed to water the 24 acre (9.75 ha) hobby farm belonging to newly married couple Bernie and Isa Smith. Bernie, from Armadale, and Isa, from a farm at Tyntynder near Swan Hill, were attracted to the hilly topography and the creek running through the property. It extended from Ryans Road, Eltham, to Karingal Drive, Montmorency and was adjacent to Meruka Park. The Smiths named it Nerreman Park using the Aboriginal word Nerreman meaning ‘River Bend’ as their creek had a pronounced bend.2 In 1940 the first thing Bernie did was to build a dam, and with Isa’s help, a pump-house, to secure a water supply for their cattle, pigs, chickens, orchard and vegetable gardens. It was also available for the fire-plugs, which they placed all over the property in case of bushfire. The couple built the pump-house beside the creek and installed a Tange three-plunger pump, which had originally supplied the City of Wodonga with water. But before the Smiths could pump water up the hill from the dam they had to dig a trench and lay about 550 yards (500m) of a four-inch (100mm) water main up to an elevated holding tank. The trench was dug with a single furrow plough drawn by an old draught horse. Living in rough conditions did not deter the Smiths, who made the pump-house their home, where they still lived when their first child was born in 1944. They later built their home at the top of their property overlooking Eltham, with magnificent views to Kinglake, the Dandenong Ranges and Melbourne. From 1946 it took them almost 20 years to complete the 36-square house with its 12-foot (3.6m) high ceilings. Material for the concrete roof and walls faced with sandstone, was ripped out of the ground on their property by plough pulled by tandem Clydesdale horses. Isa was a strong woman – two days before their second child was born – she set three huge sandstone boulders in place in the bottom wall of the garage. She also mixed all the cement for the house. A collapsed kitchen wall did not discourage her from rebuilding it in a week, while her husband was away working in the country. She later recalled: ‘We stood back to admire this beautiful wall we’d built and while we were looking at it, it came tumbling down’.3 Following Bernie’s death in 1983, Nerreman Park was subdivided, between 1993 and 1995. Local Gordon Ford designed the landscaping and the pump-house was pulled down. But the dam remains as a reminder of exceptional engineering4 – and of a remarkable couple.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, karingal drive, smiths dam, bernie smith, gordon ford, isa smith, nerreman gateway, nerreman park estate, dams

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artRobert T. Miller, Mission to Seafarers Victoria CollectionA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings

Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtRobert T. Miller, Mission to Seafarers Victoria CollectionContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat

Newspaper article: A sustainable award, Diamond Valley Leader, 1 November2006, Architect and building Llewellyn Pritchard won resource Efficiency Housing Award, finalist in HIA Greensmart Building of the Year Award. House – Environmental Leader (Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p186) In 2006 environmental awareness was mushrooming in the community, which is reflected in the award-winning house at Main Road near Wattletree Road, Eltham. At first sight, the building appears a mix of a classic Eltham mud-brick house and an avant-garde building style. The crown of solar panels stretching along the width of the curved roof, indicates that this is no ordinary house. In fact it signals a new building trend of minimal impact on the environment. Yet it utilises the environment with high technical expertise to achieve comfort and cut running and maintenance costs. In recognition of this, its designer/builder, Conscious Homes, won the 2006 National HIA Greensmart Resource Efficiency Award. For Conscious Homes director, Llewellyn Pritchard, this house reflects a philosophy, strengthened by his connection with Aboriginal culture, through his foster siblings. Pritchard believes the sustainable way indigenous Australians lived and their spiritual connection with land, demonstrates how humanity is part of the ecology. His interest in environmental design stemmed from growing up in bushy Eltham Shire, with its mud-brick tradition. This was followed by studying Architecture at RMIT in the early 1980s, and learning about passive solar design. Pritchard says this house demonstrates that environmental sustainability is not about sacrifice, but about exceptional levels of occupant comfort, savings in running costs and modern fittings and appliances.1 The solar panels on the north roofs are intentionally obvious to make a statement about what the building is doing. But inside the systems are hidden and interactive with conventional services, such as the underground water tank. The house is water and energy self-sufficient and at 12 squares is much smaller than conventional houses, to minimise resources. Yet it accommodates his family of four with three bedrooms, a living/dining and kitchen area and a bathroom/laundry. Importantly the building is designed to last hundreds of years, by being able to be modified as the need arises, such as for commercial use. In this way the structure minimises its environmental impact. The solid double mud-brick walls (which are insulated) include steel beams and supporting frame, allowing the future removal or alteration of any section. The materials are local, recycled and of low toxicity where possible.2 Inside and out, the mud-brick is rendered and sealed with a combination of cement and sand and a mud-based coating in a soft golden hue increases its life. Inside, the golden-brown timber is plantation Mountain Ash and the concrete floors throughout – of local stone aggregate with a clear seal – have a natural looking random stone appearance. The house sustains a stable temperature of around 20 degrees, assisted by the concrete slab floor. The many large double-glazed windows and highlights (windows set high on walls) provide cross-flow ventilation. The north-facing living area maximises heating from the lower winter sun and is cooler in summer, because the sun is higher. Heating comes from a solar hydronic slab system. All appliances and fittings are high efficiency energy or water rated. Appliances in the timber kitchen include a gas stove and a dishwasher, using the building’s own power and water. French doors open from the living area to a deck, concealing the treatment system for all waste water. This is pumped through sub-soil drippers to the indigenous garden beds and no-dig vegetable patch. Below the carport is the 80,000-litre rainwater tank and at the back, the boiler room houses the solar boiler, water tank access, domestic water supply pump, filter gear and hydronic slab heating controls. The solar system is backed up with gas, which is needed to heat water only in winter. Gas used is less than one quarter of that for an average home with ducted heating. Excess power is fed back to the grid and the building uses about one quarter of the mains electricity of an average home. Other local builders have followed Pritchard’s lead in resource efficiency for minimal environmental impact.main road, eltham, businesses, llewellyn pritchard, hia greensmart building of the year award., efficiency housing award, conscious homes australia pty ltd

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

A prismatic compass is a common navigation and surveying instrument which was used extensively by the Forests Commission The compass most commonly used to run a traverse line. The compass calculates bearings of lines with respect to magnetic needle. A magnetic deviation correction was needed to convert the reading to a true bearing The compass could also determine angles between the traverse and waypoints (such as hilltop features). Commonly used for navigation. Largely replaced by modern GPS technology.Ex Army WW2 prismatic compass with leather case and strap. Rugged design and made of metal the internal compass plate floats on oil to help it stabilise The user lines up the direction of travel with the hair sightline in the fliptop cover and readings are taken through the viewfinder prism (hence the name).forest measurement, surveying, forests commission victoria (fcv)