Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block

Robert and Ada Zull built an Alistair Knox designed house at 2 (lot 8) Metery Road, Eltham, a one acre property for their family of five in the mid 1960s. Susan Bennett, nee Zull's reminiscences are published in EDHS Newsletter, February, April, June, August 2020. This series of photographs together with the account of personal remiscences provide a unique document of the construction of an Alistair Knox designed home. Knox was a pioneer in the use of mudbricks and recycled materials and is significant to his contribution of this style of architecture in Eltham and the wider Shire of Nillumbik.zull family, eltham south, 2 metery road, alistair knox, bush block

August Meeting (Newsletter No. 241, Aug. 2018) How do you consider designing an extension to a church that was built in 1861, just where do you start, especially when it is a church of local significance and listed by Heritage Victoria? The church in question was designed by architect Nathaniel Billings, built by well-known pioneer builder George Stebbing on land donated by Henry Dendy and is St Margaret’s Church in Pitt Street, Eltham. Adjoining this church is a large mud brick hall known to many of our Society members. It was also the venue for our 50th anniversary celebration dinner on 21st November 2017. At our Society meeting at 8.00pm on Wednesday 8th August 2018 architect David Wagner from Atelier Wagner will speak about the opportunities and challenges experienced in designing and constructing a contemporary style extension to this revered historical building, valued by the local congregation. Prior to becoming involved with St Margaret’s the Atelier Wagner architectural practice has, among an extensive range of projects, renovated and extended several churches. With this project there was also the challenge of incorporating, modifying and connecting the adjacent buildings that shared an entrance foyer.0:57:51 duration Digital MP3 File 20 MB audio recording, david wagner, eltham district historical society, jacqui wagner, meeting, society meeting, st margaret's church

"Who would have thought that a boy born in 1889 from the Victorian Mallee would become a successful artist on New York’s Staten Island? This finely illustrated, exhaustively researched and beautifully written biography on Leason features the artist’s entire career as a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. Leason’s story is a poignant one tracing his beginnings as a cartoonist, to the bohemian Melbourne art scene in the early 20th century, to his involvement in the artists’ camps of Eltham, to his important series of portraits of Lake Tyers Indigenous Australians, and his eventual move to the US where he has been acknowledged as making an enormous contribution to the New York arts scene. This story, as yet untold, fills a gap in the history of art in Australia and offers a new perspective on Australian art in the first half of the 20th century." - Thames and Hudson website A NEW HOME IN ELTHAM Once they had settled back into Melbourne, Perry and Belle began to look for a place to make a permanent home. Having enjoyed the bush setting of Mosman, they decided to explore the rural fringes of Melbourne. Each weekend they packed a picnic and travelled to the towns in the nearby hills - such as Ferntree Gully, Sassafras, Lilydale and, of course, Cockatoo Creek. Eventually deciding these places might be a little too far from The Herald office, they searched closer to the city. The Heidelberg and Box Hill regions that had inspired his old teacher McCubbin, had become busy, urban areas but further east, towards Warrandyte and Templestowe, there were still large tracts of bush. Finally they settled on Eltham, an area Percy knew very well, having often painted there with Jock Frater. Perry's old friend Dick McCann and his wife Margery had also settled in Eltham. The township was fifteen miles from Melbourne and serviced by an electric train that went to the central Melbourne station of Flinders Street, near where The Herald offices were located. Eltham was a small village in 1925, separated from Melbourne by the Yarra River, and surrounded by orchards and large tracts of bush. Small farms dotted the landscape and the main businesses revolved around ironmongers, blacksmiths, and farming supplies. Of particular appeal to artists was Eltham Park, a large expanse of bushland bounded by the Yarra River on the south side and the Diamond Creek on the east. The park included a playing field that was busy on weekends with cricket or football matches, but for the rest of the week it was mostly empty and an ideal place to paint. The scenery there provided the inspiration for many paintings by Leason, Meldrum and other artists such as Colin Colahan and Peter (A.E.) Newburv. The Leasons found a rundown old farmhouse on four-and-a-half acres of land in New Street, now known as Lavender Park Road. The site was splendid, at the top of a gentle slope which gave panoramic views east to the Dandenong hills, south over the Templestowe orchards and north to Kinglake. The front lawn was taken over by onion grass (or wiregrass as Leason called it) and scattered about the property were many wattles and gum trees. Aloe cacti covered much to the front of the house, while old quince and lucerne hedges separated the house and out-buildings from a rundown apple orchard. Here they would build a new home. ·with financial assistance from The Herald, Leason bought the property and immediately commissioned an architectural firm to design a new house in the popular bungalow style of the time. The old farm house was demolished but Percy saved the siding boards, bricks and corrugated iron for the outbuildings of his new home. The new house was a two storey, triple brick with a large, gabled, terracotta tiled roof. It was situated at the very top of the slope. The paint and varnish were barely dry when the family moved in during the summer of 1925-26 and the fumes were overpowering in the heat. Despite the house being wired for electricity, power poles had not yet reached the area and initially the family had to rely on kerosene lamps and candles. When electricity did arrive, Leason reflected on the community's reception of electricity at the expense of the old growth gum tree corridors in his cartoon, Electricity comes to Wiregrass. The family had now grown to seven. Jack was nearly nine, Jean was seven, Marjory was four, Nancy was two and the baby Patricia was seven months old. Jack and Jean were enrolled in the local primary school down the hill. A retired farmer, Jock McMillan, came to live on the property and help out with the general maintenance. Jock built himself a shack and Belle provided him with meals. He was kept occupied building structures around the property·, such as the garage, the outside toilet, garden beds, trellis arbours and a number of ponds. The elderly, bearded Scotsman with his old hat and baggy pants also provided the inspiration for one of the characters Leason regularly included in his cartoons. Like Leason, Jock smoked a straight stemmed pipe. A neighbour was employed to help Belle with domestic chores, and so the family settled down to live comfortably in their new Eltham house. Two dogs, Maginary and Wodger, completed the large and vibrant household. “Percy Leason; an artist’s life” by Margot Tasca, Thames & Hudson Australia Pty Ltd, Port Melbourne 2016, pp 63-64 Hardback Bookpercy leason, margot tasca, biography, artist, landscape

The E.J. Tippett Library is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building was opened on 04 July 1986 by Governor of Victoria, His Excellency Dr Davis McCaughey.E.J. Tippett Library on the Ballarat School of Mines library.ballarat school of mines, smb campus library, e.j. tippett library

The E.J. Tippett Librocate.ary is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building opened in 1986.Colour photographs showing the exterior of the E.J. Tippett Library at Federation University Australia SMB Campus. e.j. tippett library, tippett library, smb library, tippett, e.j. tippett, ewan jones and associates

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photograph of a sandstone detail on a double storey, red brick building - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

The Terminus Hotel opened in January 1884, coinciding with the opening of the railway. The hotel had a close connection with the railway, catering for travellers and relieving railway workers. In December 1903 the original wooden structure burnt to the ground. The hotel was rebuilt in 1904 in much the same form see Record No 00306. Mr Andrew Kelly of Nullawil took over the enterprise circa 1930 giving it a new look in the 'Art Deco' style of the period. Mr Kelly and family ran a successful hotel business for forty years.Copy of a B&W photograph of the Terminus Hotel, situated in Broadway Wycheproof circa 1930s. Of brick construction, featuring arch entrance doorways and windows. A verandah protects the street facade. The architecture represents the 'Art Deco' period.Nonehotel wycheproof broadway, men clothing, art deco 1930s

Hans Schiebold, lives in Seaford and is a former ship’s captain who migrated to Australia more than three decades ago, Schiebold is fully immersed in his life as an artist. In 2012, he was a finalist of the ANL Maritime Art Prize. This artwork was an entry for the Maritime Art Prize 2014.RealistPainting on Unframed stretched canvas depicting courtyard and Bell tower of MTSV chapelInscribed on stretcher: HANS SCHIEBOLD HOME FROM HOME mission to seafarers victoria, spanish-courtyard, bell tower, artwork, hans schiebold, mission to seafarers, seamen's mission, flinders street, courtyard, bell, tables, arches, artwork-paintings, 2014, maritime art prize

This booklet written by Tim Gatehouse and published by the Anglican Diocese of Melbourne gives details on the Arts and Crafts movement background and history in Australia, a short biography of Walter Richmond Butler, architect of the Mission to Seafarers and architect to the diocese of Melbourne from 1895. In 1902 he designed the extensions to Bishopscourt, East Melbourne, now called the Butler Wing.Walter Richmond Butler was an influential British architect bringing his knowledge in the Arts and Crafts movement to Australia. He was commissioned the design of the first mission in central Melbourne, the Central Institute on Siddeley Street, then the second Mission on Flinders Street. He remained a friend of the Mission and especially the Godfrey sisters who lived for some time in an apartment in Tintern Avenue.Colour booklet containing colour and black and white photographswalter richmond butler (1864–1949), bishopscourt, diocese, anglican, arts and crafts, james blackburn, architecture, 120 clarendon street, east melbourne

"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist

In August 1916, Walter R. Butler presented the plans for the future central Seamen's Institute.The drawings show the original plans with rooms' names and intended use. They also show the original concept for the chapel which was in the Spanish Mission style.Plan copied from the 1983 Howden and Wardrop A4 report. A large plan on tracing paper (original or copy of the original) is held in the MSTV archives.flinders street, mission to seamen, mission to seafarers, walter richmond butler (1864–1949), norla dome, st peter chapel, spanish mission, arts and crafts, 1916

In August 1916, Walter R. Butler presented the plans for the future central Seamen's Institute.The drawings show the original plans with rooms' names and intended use. They also show the original concept for the chapel which was in the Spanish Mission style.Plan copied from the 1983 Howden and Wardrop A4 report. A large plan copy of the original is held in the MSTV archives.flinders street, mission to seamen, mission to seafarers, walter richmond butler (1864–1949), norla dome, st peter chapel, spanish mission, arts and crafts, 1916

In August 1916, Walter R. Butler presented the plans for the future central Seamen's Institute.The drawings show the original plans with rooms' names and intended use. They also show the original concept for the chapel which was in the Spanish Mission style.Plan copied from the 1983 Howden and Wardrop A4 report. flinders street, mission to seamen, mission to seafarers, walter richmond butler (1864–1949), norla dome, st peter chapel, spanish mission, arts and crafts, 1916

In August 1916, Walter R. Butler presented the plans for the future central Seamen's Institute.The drawings show the original plans with rooms' names and intended use. They also show the original concept for the chapel which was in the Spanish Mission style.Plan copied from the 1983 Howden and Wardrop A4 report. flinders street, mission to seamen, mission to seafarers, walter richmond butler (1864–1949), norla dome, st peter chapel, spanish mission, arts and crafts, 1916

In August 1916, Walter R. Butler presented the plans for the future central Seamen's Institute.The drawings show the original plans with rooms' names and intended use. They also show the original concept for the chapel which was in the Spanish Mission style.Plan copied from the 1983 Howden and Wardrop A4 report. flinders street, mission to seamen, mission to seafarers, walter richmond butler (1864–1949), norla dome, st peter chapel, spanish mission, arts and crafts, 1916

This postcard depicts the urban setting of the Mission to Seafarers a few years after its construction. (the Dome, the last part erected, was opened on 21 October 1921). It demonstrates a lack of urban surrounds or buildings as well as a paved road and a horse-drawn wagon. The figure in the photo is also a record of the dress style of the era. The lady is most likely a member of the Ladies' Harbour Lights Guild.This postcard demonstrates that the building was deemed important enough to be photographed for a postcard. It is a record of what the Mission to Seafarers looked like two years after its construction, and its urban surrounding.Sepia postcard of the Mission to Seafarers building complex and surrounding streets. The postcard depicts a wagon and a woman walking by the complex wearing a black dress and coat and black hat and holding an umbrella. Front: THE MISSIONS TO SEAMEN INSTITUTE, MELBOURNE VICTORIA REAL PHOTO SERIES.M.1696 Reverse: PUBLISHED BY THE VALENTINE & SONS PUBLISHING CO.LTD / MELBOURNE SYDNEY & BRISBANE. Contains logo of VALENTINES REAL PHOTO SERIES POSTCARD. Stamp logo lists: BRANCHES / SYDNEY / LONDON / DUNDEE / DUBLIN / CAPETOWN / MONTREAL / TORONTO Handwritten in blue: 1919mission to seafarers, melbourne, mission to seamen, seamen's mission, norla dome, flag, flying angel, lady, horse cart, umbrella, flinders street extension, ships, australian wharf, valentine's postcards, real photo series postcards, st peter chapel, lhlg, architecture, walter richmond butler

A listing of National Trust listed buildings from around Victoria in 1966. Each entry has a photograph and caption with some history of the building. Arranged by region.The development of architectural style in Victoria.278 pages, black and white illustrations. Hard cover. Dust jacket has illustration of interior of the Library of the Supreme Courtmelbourne architecture, victoria architecture, historic buildings victoria, national trust of australia, victoria

A guide to period building styles in Victoria. Contains heritage colour suggestions and description of main architectural elements.These house styles are common throughout Victoria and may also be found in the Greensborough area.31 pages, soft yellow cover with title in grey and white. Colour illustrations and black and white line drawings.houses victoria, heritage council of victoria, heritage victoria, david harvey

Barkly Street is the main road into the business district of Ararat and has developed significantly since this image was taken. The postcard helps define the township in its early stages of colonialisation and reflects on the style of early architecture. The image is a photographic representation of wide streets, assorted businesses and buildings with a bicyclist and horse-drawn carriage in the background. The vantage point seems to be the balcony of Leopolds hotel. This early 1900s streetscape assists in the understanding of our township's development over the decades, both socially and architecturally.Small, landscape orientation rigid postcard, colourised, featuring Barkly Street in Ararat, circa 1900s. Notable features are the Turf Hotel sign and the lettering 'Yankee Doodle' on a building wall.Front: "Barkly Street Ararat". barkly street, ararat, 1900s, buildings, streetscape, architecture, postcard, colourised, turf hotel, leopolds hotel

Sweeney's, originally Culla Hill, a former homestead, located on a site bought from the crown in 1842 by Irishman Thomas Sweeney. The cottage is important in the history of Eltham and of architectural interest as an example of a Colonial Style dwelling. The Living room shows a wooden door and floor with rug. A window to the left, two seats and a book case. This was the home of V.C. Burston.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, eltham, sweeney's cottage, v.c. burston

Photograph of stables at Montsalvat, Eltham. Montsalvat is an artist colony, established by Justus Jorgensen in 1934. It is home to over a dozen buildings, houses and halls set amongst richly established gardens on 48,562 m2 (12 acres) of land (Wikpedia). "Many of the buildings (including.. the stable near the animal yard) were designed by Justus Jorgensen in Gothic and/or vernacular styles using mud brick and recycled materials" - Victorian Heritage Database Photo possibly taken by Peter Bassett-Smith. No date. Montsalvat is historically, technically, architecturally, aesthetically, socially and spiritually significant to the State of Victoria.The Montsalvat complex is historically significant because it was established in 1934 by the noted artist and architect Justus Jorgensen. (Victorian Heritage Register)1 photographeltham, montsalvat, stables

This SEC cook book was produced circa 1950s when the Kiewa Hydro Electricity Scheme and its Commission was in full swing. The Commission had constructed two settlements, Mount Beauty and Bogong Village to house construction workers and their families in a "closed" community. These "closed" communities were for SEC staff and construction workers only. Entry into these villages was restricted to "SEC pass" carrying construction staff and their families. All facilities such as retail, sporting and other community services was provided by the SEC. This created an isolated community in which limited individual choice or administrative family leeway was available. It was a typical company town (live and work for the company). The Company was in the Kiewa Valley constructing power stations for the Kiewa Hydro Electricity Scheme of Victoria. In one way the individual did not need to be concerned with living costs, educational needs for children, and recreational amenities and therefore "normal" community survival /living methods did not apply. This living, although restrictive, was quite simple. When the scheme was completed, in 1961, marking the end of company town, caused some of the employees, who had enjoyed the "controlled" township environment, a fair degree of angst in having the new 'laissez-faire" controls thrust upon them. This was magnified when both Mount Beauty and Bogong Village became meshed into the Bright Shire, vis-a-vis, local government. This cook book is a prime example of " the company is looking after you" and leave the worrying to us. This environment of a "company town", which creates the atmosphere of minimal personal responsibilities, is still present in a few remote mining towns in Australia at the beginning of the 21st Century.This book is a classical example of the psychological control in which the company had its construction workers families living in. The motto of many companies who had employees in isolated regions was "keep them happy". A happy and contented worker is a more productive worker. This was a period in time (1950s to 1970s) when social psychology was gaining recognition in the Australian workforce as well as internationally. At the end of the construction of all the power stations both the Mount Beauty settlement and the Bogong Village became more integrated into the main stream of rural Australia environment. Development of tourism in the region opened up not only interaction with a greater cross section of the ever expanding type of Australian but also the overseas based non rural culture tourist or immigrant. It allowed the intermingling of ideas in a non company controlled environment. The Mount Beauty and Bogong Village has, and even up to the 3000 Millennium, the same housing construction, as was built by the SEC. There has only been a very gradual change to modern domestic architectural home styles. This SEC cookbook has a folded cover with two staples at the spine, securing eight double sided pages. The white pages contain black print and sketches(3), and one black and white photograph (of the author). The front cover is mainly orange in colour with a gradual fading into yellow(at the top). The cover is approximately 210 g/m2 in thickness and each page is approximately 90 g/m2 thick. Front cover: top of page "SEC Cook Book of Family Favourites", in the middle a sketch, black on orange background, of a smiling mother walking from the kitchen to the dining table with a steaming rolled roast and vegetables in one hand and a gravy pot in the other. The furniture and decor relates to the 1950s. Below this sketch is printed"SEC TESTED RECIPES NO. 16" Inside cover: on top of the page is a black and white sketch of a pineapple, apple pear fish with scales, bunch of grapes with leaves a pork roll (head of pig one end and a roll ending on the other, on top of this food arrangement rests a fruit pie. Below this sketch are printed in black print the books contents.The first side of the first page is a black and white photograph Mary Dunne, the SEC Home Service supervisor who provided a signed foreword. The inside back cover has a promotional segment detailing a black and white photograph of a smiling (and happy) couple in the foreground with an electric stove in the distance. The written motto below this photograph is" to Live better -and save money they'll join the Power People. "the new tariff is(1960s) - First 75kWh --6 cents per kWh Next 435 kWh---2.3 cents per kWh Balance --1.7 cents per kWh The rate per killowatt-hour for the final block drops from 2.1 cents to 1.7 cents --a reduction of 19%.cooking recipes circa 1950s, domestic food, sec victoria cook books, recipes circa 1950s

Includes references to local sites Bear's Castle, Yan Yean (City of Whitlesea), mud brick houses in Eltham, including at Montsalvat and Eltham Community Centre, Smith's Gully, Plenty Baptist Church and Warrandyte. Includes chapter on Alistair Knox. The author's own home appears in the book on page 100. It was situated at Batman Road, Eltham next to the manse and church opposite Stanley Avenue. It was demolished for unit development June 2004 after the author's death in 2003. A significant and oft cited history of the mud brick earth construction style of architecture which includes a number of examples within the Shire of Nillumbik, known to be a site of the environmental earth building movement following WW2.198 p. : ill. (some col.), maps ISBN 0646069624earth construction, mud bricks, pise, domestic architecture

In 2017 known as the Kangaroo Ground Operations Centre a facility for hire managed by the Shire of Nillumbik. On 7 February 2009 (Black Saturday) the CFA Incident Control Centre (ICC) was located here. Described in "Worst of Days: Inside the black Saturday firestorm" by Karen Kissane (access via Google books): "..the ICC is part of a mud brick complex built in the 1980s as an emergency operations centre for several agencies, including the State Emergency Service. It is also home to the headquarters of the CFA's Lower Yarra Group. A small office with a whiteboard would be the incident controller's office throughout the office, but a larger central room, with data projectors, "smart boards" and maps would house the rest of the team.."Statement of Significance From the Victorian Heritage Database (2010) What is significant? The 1988 emergency operations centre and the surrounding site to the title boundaries. How is it significant? The emergency operations centre is architecturally, aesthetically, socially and historically significant to the Shire of Nillumbik. Why is it significant? The emergency operations centre is architecturally and historically significant as a good and rare example of a large public building constructed in a 1980s version of the 'Eltham style', and as a rare attempt to adapt the 'Eltham-style' aesthetic to meet the changing demands of the Shire in the 1980s (Criteria B, D & E). The emergency operations centre is architecturally and aesthetically significant because it is constructed of mud brick and features: a central entry with a tile mural (Criterion E). The emergency operations centre is socially significant because it is a focal point for the community and has played an important role in protecting the community since 1988 (Criterion G).Two colour photographs of mud brick Emergency Operations Centre building, Kangaroo Groundbuildings, mud brick, emergency centre, kangaroo ground

The Ozone Coffee Palace was built in 1890-1891. It was designed by Mr J McLeod. It was grand in design and decoration. The term Coffee Palace was used to describe temperance hotels which were built during the 1880’s -1890’s. They typically were multi-purpose and had a large number of rooms for ballrooms and leisure activities. Coffee palaces were aimed at families in coastal areas and inner city locations. Examples of some are The Windsor Hotel Melbourne, Ozone, Queenscliff and Kilbreda Convent in Mentone. The bottom part of the advertisement is a testimonial written by Brassey and Sybil De V Brassey, Lord Brassey being Governor of Victoria around 1895. Their visit to Warrnambool and their stay at the Ozone sparked a much needed interest in the Ozone. In 1896 the price to stay at the Ozone was two pounds two shillings and it remain in business for several years but in 1910 it closed after losing money for many years. It remained closed until it was bought by Mr Howard Lawson in 1920. It continued to struggle financially. It was burnt down in February 1929. When the Ozone was built in1891 it was the largest building in Warrnambool. It occupied a prominent position on the corner of Koroit and Kepler Streets. The grand architectural style in which it was built, was used for a number of similar buildings throughout the state. The fire which destroyed the building was one of the largest in the town.Large photograph glued to the top of the card with text in various styles underneath. Photo is sepia and card is cream. The bottom part of the piece has broken away. Jordan in bottom LH corner of photograph. “L.N. Moore 2 Landcox St Nth Brighton” written in pencil on back. warrnambool, ozone coffee palace warrnambool, mansions hotel, hotel warrnambool, ozone fire 1929

A window sash is a type of moveable window frame that can slide, usually vertically. Unlike a window frame built into the wall, a sash allows glass window panes to slide up and down. The sashes fit inside a track that runs along another window frame attached to the house. Lead weights traditionally counterbalanced sashes, but today they are counterbalanced by springs. The traditional sash window is double-hung; this means it has two sashes that can both slide along a vertical track. However, some sash windows have a single moveable sash, and sashes may slide horizontally. A sash usually contains panels of glass, called lights. The lights are traditionally held together by a grid of bars. The sash window was developed in 17th century England and allowed for greater airflow. The sash window has had a significant impact on western architecture, used in nearly every style of English domestic architecture since the late 17th century. The subject item is a template used by the carpenter to mark or scribe the vertical track in which to window will slide up and down.An item used when sash windows were made by hand from the 17th to the early 20th century. The template allowed the carpenter to mark accurately a channel that was then planed and the Mitre to join the bars.Wooden Ovalo sash template with two screws each side. It has slot along length and has 45 degree bevelled edge each end.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden ovalo sash template, ovalo sash template, template, sash template, sash templet, window sash, tool