This book belonged to Rolf Crawley who was an engineer in the employ of the Shire of Warrnambool at the time he acquired this book. In 1926 he was the engineer/secretary for the Minhamite Shire, returning in 1935 to the Shire of Warrnambool as the engineer after the death of his father, John William Crawley Junior. Rolf retained this position until 1968. Rolf’s grandfather, father and uncle had all been engineers or shire secretary for the Shire of Warrnambool, with the Crawley family recording a total of 132 years of service to the Shire of Warrnambool which existed from 1863 to 1994. This book is retained as a memento of Rolf Crawley, the engineer with the Shire of Warrnambool from 1935 to 1968. This is a hard cover book of 626 pages. The cover is green with gold lettering on the spine. The edges of the cover are rubbed. The book contains a preface, 18 chapters of text and an appendix. The pages contain many diagrams and plans. The inscriptions on the first page are handwritten in black ink. There is a label from the bookseller attached to the first page. Rolf L. Crawley 1922 Please return to R.L.Crawley ‘Korongah’ Port Fairy or Shire Hall Warrnambool Tait Book Co. 90 William Street St. Melbourne for Technical Bookscrawley family, warrnambool, shire of warrnambool, history of warrnambool

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Geometric design in green and blue with orange circle at the top, and a "ribbon" emanating from the structure below.art, artwork, virginia jay, blue

This garment reflects the apex of the Australian "Youthquake" movement between 1967 and 1968. During this tight window, international mod influences from London's Carnaby Street fused heavily with local Australian manufacturing. Melbourne emerged as the absolute epicenter of the nation's revolutionary ready-to-wear "rag trade," led by visionary young designers who rebelled against traditional haute couture. Kenneth Pirrie, starting his label in 1959, became a crucial vanguard of this shift. By 1967, Pirrie was heavily commissioning his own exclusive textile prints—capitalizing on newly popularized, easy-to-launder synthetic crepes, crimplenes, and lightweight blends that mirrored the fast-paced, modern lifestyles of younger working women. The high collar and structured button-front design seen here explicitly capture the brief design transition where military tailoring elements met bright, counter-culture psychedelia.This coat dress stands as a stellar, physically intact index of mid-century Australian fashion innovation. It documents a pivotal socio-cultural era when locally manufactured ready-to-wear labels successfully captured and redirected global youth subcultures specifically for the domestic market. The piece demonstrates the high-caliber printmaking and structured garment construction that earned Kenneth Pirrie national acclaim. It provides an excellent material baseline of the late-1960s shift away from structural, monochromatic mod toward organic, vivid flower-power palettes. The dress, owned by Melbourne architect, Dione McIntyre, possesses exceptional local provenance. It highlights the local domestic and commercial history of Kew and greater Melbourne, recording what the fashion-conscious public actually bought, wore, and preserved during a period of massive industry transformationAn A-line, knee-length woman’s garment designed to function as a standalone dress or light structured coat. The piece is constructed from a dark base fabric featuring a densely populated, screen-printed psychedelic floral motif. The pattern exhibits stylized white, pink, magenta, and purple blossoms with golden-yellow centers, typifying the iconic "flower power" aesthetic of the late sixties. The garment features a structured, high Nehru collar closing directly down a central front-button placket. It has tailored, long inset sleeves terminating in clean cuffs, a fitted torso that gently flares outward from the hips into a minimalist A-line skirt, and an overall sharp, geometric silhouette.Label: Kenneth Pirriekenneth pirrie, women's clothing, australian fashion - 1970s, mcintyre collection, day wear, coat dresses

In 1969 Robin Boyd was awarded highest RAIA Gold medal, the highest honour.Gold medal (65mm diameter) with design on both faces. (a) RAIA medal with architect and guild figure and stone structure (b) Artem promovemos una Two kangaroos holding shield with wall and column structure. The medal set into a black velvet. The back is black leather in a timber frame. 405mmH X 330mmWThe back of the timber frame is inscribed with //PARTH-40'E' - F + G.royal australian institute of architects award. raia award, royal australian institute of architects gold medal, raia gold medal, robin boyd

The land in Chapel Street was granted by the Presbyterian Church in 1869. A church was finally built by Alex McLardy at a cost of £127 and was dedicated in august 1895. The first Presbyterian Church services held on Phillip Island in 1889 were conducted under a tree in the open air. May 1890 Dr. Alexander Robb was appointed the first Minister and continued until his death 11 years later. 1929 an annex was built providing more accommodation. 1968 the joint Presbyterian and Methodist congregation was formed. In 1975 a new building was dedicated.St John's Uniting Church, Chapel Street, Cowes. Large wooden structure combining Church and Hall. In 1971 the building committee commissioned an architect who designed the building with an unusual roof structure which reflected the concept of a keel of a ship - appropriate for the setting of a building by the sea. The bell is from the wrecked ship "The Speke".local history, photographs, buildings, historic, buildings - historical, coloured photograph, john cook, phillip island, st john's church cowes, uniting church cowes phillip island

Gunther Jahnke graduated in 1980. Trevor Adams graduated in 1978. Subsequently he was employed by ALCOA Australia, and by 2000 was general manager at the Portland (Vic.) plant..1) Two men, one wearing a leather jacket .2) Three men at a metallurgical apparatus .3) A handwritten note by Brian Sunter, relevant to the above photo..3) A. A group of Metallurgy students from Ballarat CAE working on equipment designed for melting metals and alloys under high vacuum conditions. (From left to right Athol Shelton, Gunther Jahnke, Trevor Adams) B. Metallurgy students operating a control panel for equipment designed to analyse crystal structure. (From left: Gunther Jahnke, Trevor Adams) alumni, brian sunter, gunther jahnke, trevor adams, athol shelton, student activity, metallurgy

Bendigo Advertiser ''The way we were'' from 2000. New centre: the Eaglehawk Town Hall just after its completion in 1901. Designed by Wilkinson and Permewan, who also designed the Castlemaine Town Hall, the building replaced a single-storey structure designed by Henry Tolhurst and finished in 1864. Before 1864, council meetings were held in Garby's Camp Hotel. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Spiral comb bound folder, with silver card covers, titled "Comeng" providing details of the Comeng rollingstock manufacturer. Details their locations, company structure, locations, engineering and design work and Comeng products in Service, trains, trams, buses and other equipment. Includes design details and photographs of Z, A and B1 class tramcars. Produced by John Dunn of Comeng in 1987..trams, tramways, commonwealth engineering, comeng, tramcars, construction

During the 1970s, iconic Australian fashion designer Prue Acton transitioned from her ultra-short 1960s mod mini dresses into softer, longer silhouettes. Her 1970s collections frequently embraced fluid materials like jersey, crepe, and chiffon to reflect the era's shift toward bohemian elegance and relaxed glamour. Pleating, pussy bows, blouson sleeves, and cinched, belted waists became definitive hallmarks of her later labels. This specific garment mirrors that exact 1970s transition—balancing standard office-appropriate coverage with a romantic, flowing aesthetic.Often celebrated as the "Golden Girl of Australian Fashion," Prue Acton was instrumental in putting Australian design on the global stage. She was the first Australian designer to successfully break into the highly competitive New York market and show her collections commercially overseas. Her 1970s designs remain significant as they captured a pivotal era of female empowerment, offering women versatile, high-fashion styles that seamlessly moved from professional daytime workwear to evening elegance.The garment is a monochromatic midi-length dress in a soft, dusty pink hue. It features a modest mock neckline and fluid, long bishop sleeves that taper into structured cuffs. The bodice remains unstructured and smoothly gives way to a defined waistline, accentuated by a matching fabric sash tied into a bow. From the waist down, the skirt drops into a highly structured, crisp accordion pleated design, creating a classic A-line silhouette with graceful movementLabel: "Prue Acton" [Silver label]fashion - melbourne - 1970s, prue acton

This is the thirtieth issue of the annual Orbost High School magazine. The name Croajingolong derives from the Australian Aboriginal Krauatungalung words galung, meaning "belonging to" and kraua, meaning "east. 2225.1 belonged to Mary Gilbert, a former teacher at the school. 2225.2 belonged to Brenda Murray, a former mayor of East Gippsland Shire and prominent Orbost resident.This magazine is a useful reference tool.Two copies of the magazine, Croajingolong 1977. 2225.1 has a torquoise cover and 2225.2 has a mid blue cover. Both have a large graphic design on the front cover of CROAJINGOLONG 1977 created in stone with 5 workers chizeling and polishing the structure. There are heavy clouds above. Contents are type-written.2225.2 has Brenda Murray handwritten in pen on the front cover as well as the stamp of the Orbost Historical Society.croajingolong orbost-high-school

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.c.1900 Simulated tile design made by Osborn and Shearman, Chelsea, London. In order to produce a high-quality washable surface, known as a "sanitary" paper, the printing was done with engraved rollers. Features intricate floral and geometric motifs, including a prominent central urn-like structure and repeating mosaic-style segments.P.I2 (f)heritage interiors, wallpapers, 20th century interior design, sanitary wallpapers

Photocopy undated article from Australian Conservation Foundation re Bendigo Jail, together with undated Design Considerations for development of BSSC jail redevelopment. 1. Article by Brian Morley outlines history of the jail, Ronald Ryan's execution in 1967, and petitions against capital punishment. 2. Three page stapled A4 sheets, undated unknown authority document titled 'The Design Considerations for BSSC Jail redevelopment'. Outlines environment, class room structure models, general office & exhibition space, lecture theatre, overall buildings, design consistency, and learning area requirements.bendigo, institutions, bendigo jail

Photograph. Commercial Bank 1960s. Originally Bank of Victoria, 12 View street. Bendigo first large trading bank. Two storey brick structure erected in 1863-64 by architect A.L. Smith. Rendered façade face Pall Mall and View Street. Intersect Chartered corner. Classically designed and richly decorated.bendigo, banks, commercial bank

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.c.1880 Asymmetrical dado design showing Japanese influence featuring stylised floral motifs including chrysanthemums and geometric borders in the "Aesthetic" style. This style was part of the 19th-century artistic movement that incorporated nature-inspired elements in structured, layered compositions. A strong Japanese/Chinoiserie influence was a hallmark of the era's decorative arts. P.D9 (f)heritage interiors, wallpapers, 19th century interior design, dado borders, aesthetic movement

Bendigo Advertiser ''The way we were'' from 2000. Nurses' quarters: Bendigo's first hospital was a wood and canvas structure erected on a two-acre site at the top of Short Street. Eventually architect W.C. Vahland designed a hospital built on Rowan Street, Bendigo. This part of Sandhurst remained a fashionable area with some of the city's finest homes at the time erected there. The clip is in a folder.newspaper, bendigo advertiser, the way we were

The first permanent Catholic Church was a slab construction covered in Canvas. It measured 40 x 16feet. A new church designed by George and Schneider was begun in 1856 and completed in 1857. However this structure was demolished in 1887 due to faulty foundations. The current church, the largest weatherboard church in Australia, was designed by Wilhelm Vahland and was blessed 1st July 1888.Serving for 150 years: St Killian's Catholic Church will celebrate 150 years of service next weekend. The clip is in a folder.newspaper, bendigo

Report - 7 quarto typed sheets - untitled, but gives a detailed description of the design basis and construction of the SW6 class tram. Dated May 1939. Details the design after Bell's overseas trip the previous year. Details dimensions, seating, ventilation, seating, doors, structure, construct, timber, materials, door engines, cab equipment, PA system, interior appearances, flooring, colours, lighting, conductor's bell / signals, trucks, bolster, wheels, brake shoes, braking, motors, acceleration, performance, controllers, contactors, compressor. Gives a detailed list of the specifications.Has a note in pencil about a typographical error on the bottom of the sheet.trams, tramways, sw6 class, specification, tramcars, tram controllers, tram equipment, tramcar design

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.19th century border and matching corner for use as architectural detailing on a ceiling or for wall panel decoration. The pattern includes: whiplash curves, botanical inspiration and geometric accents. The central motif resembles a stylised flowerer lily. The flanking diamond mesh pattern (lattice style) provide a structured contrast to the central figure. The middle of the design, to be used as a dado or on a ceiling, simulates varnished planks of wood. P. B2 (m-c)heritage interiors, wallpapers, 19th century design, wallpaper borders, wallpaper corners, wallpapered ceilings

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 18. Stilling pool opposite outlet section of dam. New South Wales. December 1925 A stilling pool is a structure at the downstream side of a dam, designed to take away some of the energy from overtopping water flowing down the spillway, to reduce the risk of erosion of the ground near the dam and the dam itself.hume reservoir australia, river murray waters scheme, hume reservoir construction

Also known as the King George V memorial building this branch of the Mission to Seamen opened in 1937 as a replacement for the old Mission in Port Melbourne. The Foundation stone was laid by the Victorian State Governor and a photograph of the event is also held in the MTSV collection. The Art Deco style building was commissioned by merchant and philanthropist, Alfred Michael Nicholas (1881-1937) and designed by prolific Melbourne-based architect Harry A. Norris (1888-1966) in 1937 best known for his commercial work in Melbourne city centre. NB PMHPS Kindly allowed MTSV heritage to take scans of the Kelly series notes in their collection for reference in 2019.One of the few full colour images of this building originally classified by the National Trust and now demolished. An example of architect Harry Norris' work 1937. All that remains are a ceramic plaque, a brick and several items of chapel artefacts. Alison Kelly, a photographer, was part of the group supporting the Port Melbourne Seamen's Mission in the 1980s and 1990s. She took a series of photographs of the building now held by the Port Melbourne Historical and Preservation Society.Full colour Postcard featuring colour image of a large red brick building in a 1930s era Architecture. There is a green wrought iron gate ajar in the foreground with the word SEAMAN spelled out. MISSIONS TO SEAMEN can also be seen spelled ut in white across and down the central clock tower of the building and this is surmounted with a white flagpole.On verso: Printed: "Heritage Series / POST CARD " at right angles in small print from lwr edge to upper: "PHOTOGRAPHY BY ALISON KELLY PORT HERITAGE SERIES NO 6". At Lwr left crnr printed:" Missions to Seamen Building, Port Melbourne/ Designed in the Modern style by architect Harry Norris,/ this 1937 National Trust classified structure was until 1972 / an entertainment and spiritual centre for seamen, with / important roles during the war [WW2] and immigration periods"king george v, memorial chapel, harry a. norris, brick, art deco, alfred m. nicholas, beach street, mission to seamen, alison kelly, 1937, arts centre, seamen mission, mission to seafarers, port melbourne

From the Port of Portland website: The original corkscrew was built as a gift to the Portland Harbour Trust by the contractors who constructed the port. It was designed in 1960 and fabricated shortly after the completion of the Main Breakwater. The corkscrew was built as an observatory, with the observation deck approximately 13 metres above sea level. Its original design life was less than 25 years. The original structure was dilapidated, extremely unsafe and in danger of collapse. Understanding the historical and community importance of the original structure, in 2016 Port of Portland began the process of designing and building a replacement. The new corkscrew is a similar size and has been based on the same spiral shape of the original structure. The corkscrew has been constructed using mild steel, heavily coated in marine grade paint (similar to what is used on ships). Heavy duty plastic has been used for the walkway section which will withstand the harsh elements of the marine environment.Photograph of the Portland Corkscrew in the 1980s. Image is in black and white. The corkscrew is in front of a sky which is dotted with fluffy clouds. To the front of the Corkscrew are large rocks. The building is a spiral with glass windows. There is a white metal fence around it and a white pole at the top which reaches to the top of the image.Bottom right: J WILKINSportland, seafront, maritime, portland landmark, corkscrew, port of portland, portland photography, photography

Breakwater navigation lights are placed at the end of the breakwaters to warn incoming vessels of the end of the structure, as a marine safety measure. The subject item was such a light believed to have been placed at the end of Warrnambool's breakwater around 1915 when it was extended. The light had remained in place for many years until it was probably removed when the structure was undergoing rock armouring repairs to the end of the breakwater in 1975. The light had been placed in a council storage shed probably from the time when the structure was undergoing these repairs in 1975. In 2014 the light was removed from the storage shed and donated to Flagstaff Hill museum. History: Warrnambool breakwater plans were drawn up by 1874 and approval was given for preliminary construction work to start but when the money ran out, the works stopped. With a number of quick changes of government the “Warrnambool” breakwater project was kicked from one Victorian state government to another. Then finally in 1879, the eminent British harbour engineer Sir John Coode was asked to design a breakwater. His first design was for a 1800 feet long structure but that was scaled back to 900 feet and construction finally began in 1884. This structure was attributed in causing major siltation of Lady bay, as a consequence the breakwater was again extended in 1915. In 1975, the rock armouring at the end of the breakwater was added but by 1979 another impact study was calling for the breakwater to be removed altogether. The Heritage Council Victoria, regard the Warrnambool breakwater is of historical significance to the state as one of the most important maritime engineering projects that was undertaken in Victoria during the late nineteenth century. The light is also as part of this structure regarded as a significant item of historical interest.Marker light or navigation light. Round light stand with conical top piece (2 separate pieces). Metal base painted red, clear glass middle section enclosed by metal frame, metal cone shaped top section painted silver. Electrical wiring can be seen inside centre section. Pole that light would have been on to elevate it is missing.Has metal plate screwed onto side of base engraved "23". flagstaff hill, warrnambool, shipreck coast, flagstaff hill maritime museum, maritime museum, great ocean road, warrnambool breakwater, marker light, naviagtion light, breakwater navigation light

During the late 1950s and early 1960s, prominent milliners (such as Christian Dior and Balenciaga) popularised sculptural, draped turban shapes.These compact, artistic styles were designed to complement the neatly tailored suits, neat bouffant hairstyles, and cocktail dresses of the era, making them a staple for formal afternoon teas, weddings, and evening social eventsA mid-century draped turban cocktail hat with an integrated birdcage veil, dating precisely to the late 1950s to early 1960s. It is a classic "half-hat" or stylized turban hybrid. The base is structured to sit securely on the back or crown of the head, framing the hairstyle rather than covering the entire head. The hat features heavy, precise horizontal draping and ruching. The fabric appears to be a high-quality silk taffeta or faille in a rich navy or steel blue, which holds its crisp, structured shape exceptionally well. The sides flare out into elegant, padded horn-like or crescent folds. Attached underneath is a delicate honeycomb netting birdcage veil, designed to drape softly over the upper face or eyes for an air of mystery and sophistication.women's clothing -- hats, half hats, fashion melbourne 1950s, fashion melbourne 1960s

This late-Victorian fanchon bonnet is part of the Henty Collection of Kew Historical Society, tracing its ownership directly to Mary Ann Henty (née Lawrence), a prominent figure in Victoria's early pastoral and civic history. Following over three decades at the Merino Downs homestead, Mary Ann and her husband, Francis Henty, relocated to the Melbourne suburb of Kew, establishing their estate, 'Field Place', on Studley Park Road. Reflecting the high social standing and substantial wealth of the Henty family, this piece of mid-1870s millinery.featuring luxury imported electric-blue moiré silk ribbon and delicate black lace illustrates the refined tastes, consumer access, and sartorial expectations of Melbourne's pioneering elite during the colony’s post-Gold Rush boom era.This late-Victorian fanchon bonnet features a compact, shallow crown constructed from tightly woven, dark-tinted plaited straw, designed to sit high on the head. Its rigid, structured frame is edged with delicate black lace trimmings that create a scalloped profile. The headwear is embellished with wide, electric-blue moiré silk ribbons, showcasing a distinctive watered wood-grain texture, which loop across the crown and extend into long, trailing chin ties.henty collection, mary-ann henty, fashion -- 1870s, victorian-era millinery