Bound set of 39 pages titled "Motor Coaches, Trolley Coaches & Rail Cars, Data Drawings and photos Issued by Mech. Eng. Dept., Los Angeles Transit Lines", providing photos of the vehicle, steps and interior, and General Arrangement drawings and data of the vehicles operated by Los Angeles Transit Lines, during 1957. Was bound with Arnos type binders, but replaced by fold over type binders. Provides drawings of Trolley Buses, PCC and H type cars. Sample images of motor coach, trolley bus, street car and PCC car provided.On first page - "Frank Blasey? Los Angeles City Nov. 21-'57"trams, tramways, los angeles, buses, pcc, trolley buses, street cars

Boyd praises Reyner Banham's book titled "Los Angeles: The Architecture Of Four Ecologies" published in 1971. Boyd describes Banham's unconventional, positive attitude toward Los Angeles as an architectural love story. Boyd notes that Banham is somewhat idealistic about Los Angeles but declares the book a successful and interesting balance between history and architecture.Original manuscript of an book review published as 'Los Angeles: architectural love story' in "The Sunday Australian" on 04.07.1971.Typewritten (c copy), pencil edits, quarto, 7 pagesreyner banham, los angeles, historian, modern architecture, age of technology, robin boyd, manuscript

A (12 section) fold out map of street car (tram) and bus services for Los Angeles, dated June 1, 1938, showing all LAR (Los Angeles Railway) streetcar and coach (tram and bus) services, Pacific Electric lines within area, detailed "downtown" map, route descriptions and points of interest. Record images added 20/8/2013.Three terminus have been marked with pencil "X". On rear car, next to object number is a symbol looking like a "H & S" merged together.trams, tramways, los angeles, street cars, map

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

1984 olympic games, anz olympic supporters club, ephemera, xxiiird olympiaf 1984

Roman KALARUS (1951- ) Born Poland Graduating from the Academy of Fine Arts in Cracow , Faculty of Graphic Arts in Katowice Roman greaduated in 1976 . Currently he is a professor at the Academy of Fine Arts in Katowice leads the Poster Studio.. This item is part of the Federation University Art Collection and was purchased by the Art Acquisition Committee in 1996. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed offset print exhibition posterart, artwork, poster, polish poster, roman kalarus

This is a recent facsimile copy produced for an exhibition. Includes a description and photos of the 1949 Modern Home Exhibition in Melbourne Exhibition Building, p20-21.modern home exhibition, walsh st library

This is one photograph from the Allan Charles Quinn collection. Allan worked on the Goonawarra during 1946 working between Sydney, Melbourne, Palmyro Island, San Francisco, Los Angeles, Panama Canal, Falmouth, Le Havre and Goteborg.The Allan Charles Quinn collection is a collection of photographs and letters that provide a very intimate portrait of life at sea for a young man in the period following World War II.Sepia toned photograph of bow view of Goonawarra including anchor ropes and nets hanging from the side.Black ink on reverse: Bow view of Goonawarra/ in Melbourne/ discharging oil from/ Long Beach/ 13 Jan 1946allan-charles-quinn, goonawarra, sydney, melbourne, palmyro-island, san-francisco, los-angeles, panama-canal, falmouth, le-havre, goteborg

Photograph of the side of the Goonawarra loading wool at Melbourne. Allan Charles Quinn worked on the Goonawarra during 1946. The Goonawarra worked between Sydney, Melbourne, Palmyro Island, San Francisco, Los Angeles, Panama Canal, Falworth, Le Havre and Goteborg.The Allan Charles Quinn collection is a collection of letters and photographs taken and written when Allan went to sea at 16 years of age. They provide a snapshot of life at sea in the period immediately following World War II.Black and white photograph of the Goonawarra at berth in Melbourne, loading wool.Black in on reverse: Goonawarra loading wool at/ Melbourne 13 Jan 1946allan-charles-quinn, goonawarra, sydney, melbourne, palmyro-island, san-francisco, los-angeles, panama-canal, falmouth, le-havre, goteborg

This photograph is taken from the deck of the Goonawarra and belongs with the Allan Charles Quinn collection. Allan worked on the Goonawarra during 1946. The Goonawarra worked between Sydney, Melbourne, Palmyro Island, San Francisco, Los Angeles, Panama Canal, Le Havre and Goteborg.This is a photograph from the Allan Charles Quinn collection which is a collection of photographs and letters that depict the life of a young man who has gone to sea to work in the era immediately following World War II.Black and white photograph looking forward from the deck of the GoonawarraBlack ink on reverse: Monkey Island looking/ forward on Goonawarra/ at Melbourne/ 13 Jan 1946goonawarra, sydney, melbourne, falmouth, goteborg, le havre, france, allan charles quinn, panama canal, los angeles, san francisco, palmyro island

LOS ANGELES

This Ford Handbook is in good condition. This book covers at least 97% of the instructions necessary for servicing the 1950 and 1951 models.Repair and Maintenance book covering all models of ford including V8, "60" and FORD SIXOn page 106 of the handbook there is, in handwriting, CABLE OPERATED BRAKES, Spring, Colour & Position Guide. Hand drawn picture with details marking the layout and details of the spring, colour & position.electrical, steering, ford, engine, transmission, accessory, ford owners, car repair, v8, 60, ford six, repair and maintenance, ford engine, clutch, body, chassis, shockers, cooling system, fuel system, suspension, rear, axle, brakes, shock absorbers, rear axle

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. The Los Angeles County Museum of Art, Los Angeles, California, USA, 1965. (Architect: William Pereira.)Made in Australia / 20 / JUL 65Mcalifornia, slide, robin boyd

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. The Los Angeles County Museum of Art, Los Angeles, California, USA, 1965. (Architect: William Pereira.)Made in Australia / 23 / JUL 65Mcalifornia, slide, robin boyd

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. Ahmanson Gallery, Los Angeles County Museum of Art, Beverley Hills, Los Angeles, California, USA (1965). (Architect: William Pereira.)Made in Australia / 21 / JUL 65Mcalifornia, slide, robin boyd

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. Performing Arts Center of Los Angeles County (Music Center), North Hope Street, Los Angeles, 1964-67. (Architects: Welton Becket & Associates.)Made in Australia / 65california, slide, robin boyd

Robin Boyd developed a close friendship with the founder of the Bauhaus in Weimar Germany, Walter Gropius, who had moved to the USA in the 1930s. Through this connection, Boyd was invited to be the Massachusetts Institute of Technology (MIT) Bemis Professor at the School in the North American academic year 1956-7. Robin and Patricia Boyd, with their youngest daughter Suzy, were based in Cambridge, Massachusetts for the year. Boyd gave some lectures at MIT and he was also invited to give lectures at many other universities, allowing him to travel widely within the USA, especially on the East Coast. This gave him the opportunity to meet architects like Frank Lloyd Wright, Eero Saarinen, Paul Rudolph and many others, and visit the offices of Skidmore, Owings and Merrill, and places like Taliesin and the General Motors Technical Center Detroit. On the way home, the Boyds visited London, Berlin, Paris and Le Corbusier’s Ronchamp Chapel in France.Colour slide in a mount. Car park, possibly Los Angeles, USAEncircled 87F (Handwritten)mit bemis professorship, mit, robin boyd, slide

1984 Los Angeles Olypic Games Tennis medal. Materials: Metaltennis

Robin Boyd was invited to be a judge on the AIA-Sunset Western Home Awards Program (see correspondence item D416). Robin and Patricia Boyd travelled to California in July 1965. They also visited Japan.Colour slide in a mount. Department of Water and Power, Bunker Hill, Los Angeles, California, USAMade in Australia / 24 / JUL 65Mcalifornia, slide, robin boyd

Book: HISTORY AND HERITAGE OF THE LOS ANGELES TENNSI CLUB 1920-1980. Materials: Paper, Inktennis

Digital image of Australian postage stamps, First Day Cover, stamped at Greensborough. Commemorates 1984 Olympic Games.Part of a collection of miscellaneous historical images.Digital image of first day cover and stamps, colour."Olympic Games 1984. First Day Cover" Franked: "25 JUL 1984 Greensborough"postage stamps, first day envelopes, olympic games los angeles 1984

Speech addresses urban planning, points to Canada and New Zealand as possible exemplars, prophetic predictions for the future (2017) like Archigram and the 'electronic era of the anti-city'; Boyd advocates strongly for high density.Speech for the Australian Planning Institute Jubilee ConferenceTypewritten, quarto, 25 pagesExtra handwritten notessydney, monorails, town planning, australia square, perth, melbourne, bernard evans, canada, new zealand, toronto, montreal, expo 67, archigram, los angeles, robin boyd, manuscript

Discusses American technological advancement and American tendency to look forward; Australia is 15 years behind and should be more forward looking; Australian private affluence and public poverty, motor cars, expressways and roads. America is described as looking to a future beyond cars; Boyd proposes that Australia skips expressway building. Discusses tourism, the Australian accent, imagining 2000AD, Archigram's Plug-In City, anti-city, integrate bush into the city - the gumtree aesthetic.Typewritten (c copy), quarto, 29 pages. (Two copies plus one incomplete version with 13p)Incomplete one contains pencil editsfuture, america, henry ford, automobiles, road development, destruction of old buildings, destruction of nature, tourism, great barrier reef, australian accent, globalisation, isolationism, canada, new zealand, archigram, athens, los angeles, suburbia, heidelberg school, diggers, robin boyd, manuscript