Academic literature on the topic 'Australian architectural history'
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Journal articles on the topic "Australian architectural history"
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Keys, Cathy. "Diversifying the early history of the prefabricated colonial house in Moreton Bay." Queensland Review 26, no. 01 (June 2019): 86–106. http://dx.doi.org/10.1017/qre.2019.5.
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AbstractThe history of prefabrication in settler Australia is incomplete. The use of prefabricated and transportable buildings in existing Australian architectural histories focuses on colonial importation from Britain, Asia, America and New Zealand. This article, however, argues for a more diverse and local history of prefabrication — one that considers Indigenous people’s use of prefabrication and draws on archaeological research of abandoned military ventures, revealing an Australian-made, colonial prefabricated building industry that existed for over 40 years, from the 1800s to the 1840s. A more inclusive architectural history of prefabrication is considered in relation to a case study of the first European house erected in Moreton Bay at the British penal outpost of Red Cliffe Point (1824–25), a settlement established partly to contribute to British territory-marking on Australia’s distant coastlines. While existing histories prioritise transportability and ease of assembly as features of prefabricated buildings, this research has found that ease of disassembly, relocation and recycling of building components is a key feature of prefabrication in early abandoned British military garrisons.
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Hogben, Paul. "NATIONALISM IN AUSTRALIAN ARCHITECTURAL HISTORY, 1890–1920: A Discourse Analysis." Architectural Theory Review 5, no. 2 (November 2000): 94–111. http://dx.doi.org/10.1080/13264820009478403.
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McLeod, Julie. "Space, place and purpose in designing Australian schools." History of Education Review 43, no. 2 (September 30, 2014): 133–37. http://dx.doi.org/10.1108/her-03-2014-0020.
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Purpose – The purpose of this paper is to canvass debates arising from encounters between architectural and educational history and to introduce a themed section of four papers exploring aspects of the history of school design and the spatial arrangements of Australian schooling across the twentieth century. Design/methodology/approach – This is an interpretive introductory essay that characterizes trends in historical and sociological studies of school space and materialities, and synthesizes the arguments and contributions of the four companion papers. Findings – A case is made for greater exchange among educational, architectural and social historians and key insights and findings from the four papers concerning school space, design and educational ideas are summarized. Themes of community, citizenship and progressive education are highlighted. Originality/value – The value of the paper lies in introducing the context and scholarly debates framing a collection of four papers that seek to open up new avenues for investigating the history of modern schooling through studying intersections between school space and design and educational purposes and aspiration.
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Willis, Julie. "From home to civic: designing the Australian school." History of Education Review 43, no. 2 (September 30, 2014): 138–51. http://dx.doi.org/10.1108/her-02-2014-0009.
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Purpose – The purpose of this paper is to examine the design of state school buildings in Australia from the 1880s to the 1980s to establish common threads or similar concerns evident in their architecture at a national level. Design/methodology/approach – The researcher compiled a significant data set of hundreds of state schools, derived from government, professional and other publications, archival searches and site visits. Standard analytical methods in architectural research are employed, including stylistic and morphological analysis, to read the designs for meaning and intent. Findings – The data set was interrogated to draw out major themes in school design, the identification of which form the basis of the paper's argument. Four major themes, identifiable at a national level, are identified: school as house; school as civic; school as factory; and school as town. Each theme reflects a different chronological period, being approximately 1900-1920, 1920-1940, 1940-1960 and 1960-1980. The themes reflect the changing representation of aspiration for the school child and their engagement with wider society through the architecture of the school. Originality/value – The paper considers, for the first time, the concerns of educational architecture over time in Australia on a consciously national, rather than state, level.
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Lee Dow, Connor, Ryan G. Timmins, Joshua D. Ruddy, Morgan D. Williams, Nirav Maniar, Jack T. Hickey, Matthew N. Bourne, and David A. Opar. "Prediction of Hamstring Injuries in Australian Football Using Biceps Femoris Architectural Risk Factors Derived From Soccer." American Journal of Sports Medicine 49, no. 13 (September 30, 2021): 3687–95. http://dx.doi.org/10.1177/03635465211041686.
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Background: Hamstring strain injuries are the most common injuries in team sports. Biceps femoris long head architecture is associated with the risk of hamstring injury in soccer. To assess the overall predictive ability of architectural variables, risk factors need to be applied to and validated across different cohorts. Purpose: To assess the generalizability of previously established risk factors for a hamstring strain injury (HSI), including demographics, injury history, and biceps femoris long head (BFlh) architecture to predict HSIs in a cohort of elite Australian football players. Study Design: Cohort study; Level of evidence, 3. Methods: Demographic, injury history, and BFlh architectural data were collected from elite soccer (n = 152) and Australian football (n = 169) players at the beginning of the preseason for their respective competitions. Any prospectively occurring HSIs were reported to the research team. Optimal cut points for continuous variables used to determine an association with the HSI risk were established from previously published data in soccer and subsequently applied to the Australian football cohort to derive the relative risk (RR) for these variables. Logistic regression models were built using data from the soccer cohort and utilized to estimate the probability of an injury in the Australian football cohort. The area under the curve (AUC) and Brier score were the primary outcome measures to assess the performance of the logistic regression models. Results: A total of 27 and 30 prospective HSIs occurred in the soccer and Australian football cohorts, respectively. When using cut points derived from the soccer cohort and applying these to the Australian football cohort, only older athletes (aged ≥25.4 years; RR, 2.7 [95% CI, 1.4-5.2]) and those with a prior HSI (RR, 2.5 [95% CI, 1.3-4.8]) were at an increased risk of HSIs. Using the same approach, height, weight, fascicle length, muscle thickness, pennation angle, and relative fascicle length were not significantly associated with an increased risk of HSIs in Australian football players. The logistic regression model constructed using age and prior HSIs performed the best (AUC = 0.67; Brier score = 0.14), with the worst performing model being the one that was constructed using pennation angle (AUC = 0.53; Brier score = 0.18). Conclusion: Applying cut points derived from previously published data in soccer to a dataset from Australian football identified older age and prior HSIs, but none of the modifiable HSI risk factors, to be associated with an injury. The transference of HSI risk factor data between soccer and Australian football appears limited and suggests that cohort-specific cut points must be established.
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Darian-Smith, Kate, and James Waghorne. "Australian universities and the commemoration of the First World War." History of Education Review 45, no. 2 (October 3, 2016): 239–55. http://dx.doi.org/10.1108/her-09-2015-0022.
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Purpose The purpose of this paper is to examine how Australian universities commemorated the First World War, with a focus on the University of Melbourne as an institution with a particularly rich history of wartime participation and of diverse forms of memorialisation. Design/methodology/approach A case study approach is taken, with an overview of the range of war memorials at the University of Melbourne. These include memorials which acknowledged the wartime role of individuals or groups associated with the University, and took the form of architectural features, and named scholarships or academic positions. Three cross-campus war memorials are examined in depth. Findings This paper demonstrates that there was a range of war memorials at Australian universities, indicating the range of views about the First World War, and its legacies, within university communities of students, graduates and staff. Originality/value University war commemoration in Australia has not been well documented. This study examines the way in which the particular character of the community at the University of Melbourne was to influence the forms of First World War commemoration.
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Tombesi, Paolo. "Back to the future: the pragmatic classicism of Australia's Parliament House." Architectural Research Quarterly 7, no. 2 (June 2003): 140–54. http://dx.doi.org/10.1017/s1359135503002100.
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Until the launch of Federation Square in Melbourne, in 1997, Australia's contribution to the history of international architectural competitions consisted essentially of two buildings: the Sydney Opera House, won by Jørn Utzon in 1957, and the Federal Parliament House in Canberra, won by Mitchell/Giurgola and Thorp (MGT) in 1980. While Utzon's building is widely acknowledged as a daring piece of innovative design and one of the architectural icons of this century, MGT's winning scheme for Parliament House drew heavy criticism from the moment the proposal was unveiled: neo-Classicist lines, a Beaux-Arts parti, and the building's occupation of Capital Hill – at the top of the Griffins' 1912 scheme for Canberra – were seen by many as displaying a lack of sensibility towards Australian landscape, culture, and ingenuity, and as the result of a conservative approach to contemporary urban design.
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Lesh, James P. "From Modern to Postmodern Skyscraper Urbanism and the Rise of Historic Preservation in Sydney, Melbourne, and Perth, 1969-1988." Journal of Urban History 45, no. 1 (November 30, 2017): 126–49. http://dx.doi.org/10.1177/0096144217737063.
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From the late 1960s to the mid-1980s, the Australian city transitioned from modern to postmodern skyscraper urbanism. This article examines three Australian skyscrapers spanning this transition: the Mutual Life & Citizens Assurance Company (MLC) Centre in Sydney (1977), the Rialto Towers in Melbourne (1986), and the Bond Tower in Perth (1988). Despite a backlash against skyscrapers, in part brought about by heritage activists, these prominent and sizable towers were realized in historic environments. With the authorization of heritage regulators and consultants, tower builders made architectural and functional compromises for preservation, to the dissatisfaction of activists. Local and transnational forces coalesced to bring about this mode of skyscraper development, including improved construction technologies, the continued association of towers with boosterism, an intensification of economic processes, and advancements in participatory urbanism. These Australian developments exemplify the changing relationship between postmodern skyscrapers, heritage conservation, and urban planning and design.
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Green, Stephanie. "The condition of recognition: Gothic intimations in Andrew McGahan's The White Earth." Queensland Review 23, no. 1 (May 31, 2016): 84–94. http://dx.doi.org/10.1017/qre.2016.9.
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AbstractThis article discusses the evocation of the Gothic as a narrative interrogation of the intersections between place, identity and power in Andrew McGahan's The White Earth (2004). The novel deploys common techniques of Gothic literary fiction to create a sense of disassociation from the grip of a European colonial sensibility. It achieves this in various ways, including by representing its central architectural figure of colonial dominance, Kuran House, as an emblem of aristocratic pastoral decline, then by invoking intimations of an ancient supernatural presence which intercedes in the linear descent of colonial possession and, ultimately, by providing a rational explanation for the novel's events. The White Earth further demonstrates the inherently adaptive qualities of Gothic narrative technique as a means of confronting the limits to white belonging in post-colonial Australia by referencing a key historical moment, the 1992 Mabo judgment, which rejected the concept of terra nullius and recognised native title under Australian common law. At once discursive and performative, the sustained way in which the work employs the tropic power of Gothic anxiety serves to reveal the uncertain terms in which its characters negotiate what it means to be Australian, more than 200 years after colonial invasion.
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Clarke, GM, and JA McKenzie. "Genetic Architecture and Adaptation: Quantitative Analysis of Sheep and Refuse Tip Populations of the Australian Sheep Blowfly, Lucilia cuprina." Australian Journal of Biological Sciences 40, no. 1 (1987): 47. http://dx.doi.org/10.1071/bi9870047.
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Phenotypic differentiation between geographic areas and between sheep and adjacent refuse tip populations was assessed by quantitative analysis of population samples of L. cuprina from New South Wales (Lismore) and Victoria (Mansfield). In addition the genetic structure of populations has been defined and compared by biometrical analysis techniques. For all morphological and fitness characters examined significant phenotypic differentiation was observed both between geographic localities and between sheep and non-sheep populations of each locality. Diallel analysis of the populations revealed architectural differences between sheep and non-sheep populations for both fecundity and egg hatchability. Sheep populations only, regardless of locality, displayed dominant gene effects on these fitness traits. The results suggest that refuse tip populations may be other than transients and that the differentiation may reflect differing patterns of adaptation and history of selection of the populations. The relevance of such differentiation to the successful establishment of a chemical and/or autocidal control zone is considered.
Dissertations / Theses on the topic "Australian architectural history"
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Volz, Kirsty. "Architect and Ceramist : Nell McCredie's Architectural Works." Thesis, University of Queensland, 2021. https://espace.library.uq.edu.au/view/UQ:b58cd59.
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Nellie (Nell) McCredie (1901-1968) worked as both an architect and a ceramist. She was enrolled in the second cohort of the Bachelor of Architecture at the University of Sydney between 1919 and 1923. However, after graduating, McCredie was unable to find employment in architecture; instead, she found work in various drafting roles in Sydney. In her search for full-time employment in architecture, she moved to Cairns in July 1925 and spent four months working for a small architectural firm, Lawrence and Lordan.[1] In November 1925, McCredie moved to Brisbane and joined the Queensland Government’s State Advances Corporation in the Workers Dwelling Board (WDB). She stayed there for three years designing affordable homes, funded by government-backed loans, for working and middle class families. During this time, she designed at least one house as a private commission, outside of her employment with the WDB. While in Brisbane, McCredie started taking classes in ceramics with LJ Harvey at the Central Technical College.[2]McCredie returned to Sydney in 1929 at the beginning of the Great Depression. Upon returning home, she undertook further training in ceramics, learning to throw pottery on a wheel.[3] What started as a hobby transformed into McCredie’s full-time career throughout the 1930s.[4] By 1932 she had started her own ceramics teaching and production business based out of a studio on George Street in Sydney’s CBD. McCredie also continued to practice architecture independently in Sydney during the 1930s and 1940s. One of her most significant architectural works in Sydney was her design for a purpose-built ceramics studio in Epping in 1936. She operated her ceramics business from Epping with her brother Robert until she died in 1968.[5]Existing histories on McCredie’s career have focused on her ceramics rather than her architecture. The lack of attention paid to McCredie’s architecture is not because her work was insubstantial but because of the complexities in attributing authorship by architects to their buildings.[6] This thesis details McCredie’s career in architecture for the first time, which has been made possible by the discovery of her architectural archive.
McCredie’s architectural archive provides a rare opportunity to discuss the built work of one of Australia’s early women architects. This research has led to the identification of 12 previously undiscovered houses by McCredie, including seven houses in Queensland and five in Sydney’s northern suburbs. Of these 12, 10 are extant. Prior to this research, only one of her houses had been identified, Uanda (1928) in the Brisbane suburb of Wilston. It was only discovered after an application to demolish the house was submitted to Brisbane City Council in 1998. The council sought an interim heritage protection order for the house, which the then owners of Uanda disputed in the Queensland Land and Environment Court in 1999. Fortunately, the decision to protect Uanda was upheld, and it was included on the Queensland Heritage Register in 2000. The court case over the heritage listing of Uanda is an important departure point for this thesis, especially in terms of how the aesthetic merits of the house were debated between heritage expert Richard Allom and historian Judith McKay.[7]
The discussion of McCredie’s architectural works presented in this thesis also provides new insights into the careers of the architects she worked alongside. McCredie was among the first identifiable cohort of Australian women in architecture, who as Julie Willis wrote, emerged in earnest in the 1920s.[8] This study builds on existing research on Australia’s early women architects completed by Willis, McKay and Bronwyn Hanna. In particular, it provides new details about the careers of Australian interwar women architects, Ursula Jones, Eunice Slaughter, Dorothy Brennan, Lorna Lukin, Marjorie Hudson, Rosina Edmunds and Heather Sutherland. Additionally, McCredie’s archive also contributes to existing histories about the institutions that she was involved with throughout her career, including new findings into the histories of the WDB and the curriculum delivered into Australia’s first Bachelor of Architecture degree at the University of Sydney.
[1] Nell McCredie Employment Statement, Department of Public Works, 1928, Queensland State Archives document: WOR/A 1194 Department of Public Works Administration series files Brisbane, Australia
[2] Judith McKay, “Designing women: pioneer architects”. Journal of the Royal Historical Society of Queensland, Vol. 20, No. 5, (Feb 2008): 174-175.
[3] Robert McCredie, “McCredie Pottery: 1922-1974” McCredie Ceramics Archive, National Gallery of Australia, Canberra, Australia, 1
[4] “Where Pottery is Made By Hand: Sydney Girl’s Fascinating Hobby” The Sydney Morning Herald 20 October, 1936: 5
[5] Robert McCredie, “McCredie Pottery: 1922-1974,” 6
[6] Julie Willis, Invisible Contributions: The PRobertlem of History and Women Architects, Architectural Theory Review, 3:2, (1998): 61
[7] Michel v. Brisbane City Council, Qpelr 374, 1999
[8] Julie Willis, Aptitude and Capacity: Published Views of the Australian Woman Architect, Architectural Theory Review, 17:2-3, (2012): 323
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Hanna, Bronwyn Planning UNSW. "Absence and presence: a historiography of early women architects in New South Wales." Awarded by:University of New South Wales. Planning, 2000. http://handle.unsw.edu.au/1959.4/18217.
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Women architects are effectively absent from architectural history in Australia. Consulting first the archival record, this thesis establishes the presence of 230 women architects qualified and/or practising in NSW between 1900 and 1960. It then analyses some of these early women architects' achievements and difficulties in the profession, drawing on interviews with 70 practitioners or their friends and family. Finally it offers brief biographical accounts of eight leading early women architects, arguing that their achievements deserve more widespread historical attention in an adjusted canon of architectural merit. There are also 152 illustrations evidencing their design contributions. Thus the research draws on quantitative, qualitative, biographical and visual modes of representation in establishing a historical presence for these early women architects. The thesis forms part of the widespread political project of feminist historical recovery of women forebears, while also interrogating the ends and means of such historiography. The various threads describing women's absence and presence in the architectural profession are woven together throughout the thesis using three feminist approaches which sometimes harmonise and sometimes debate with each other. Described as "liberal feminism", "socialist feminism" and "postmodern feminism", they each put into play distinct patterns of questioning, method and interpretation, but all analyse historiography as a strategy for understanding society and effecting social change.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
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Rossi, Alana. "An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.
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Mulka's Cave is a profusely decorated hollow boulder at The Humps, a large granite dome near Hyden, a small town 350 km southeast of Perth. The importance of the artwork has been recognised for 50 years. Test excavations in the cave in 1988 yielded 210 mainly quartz artefacts assignable to the Australian Small Tool phase and a radiocarbon date of 420 ± 50 BP from just below the lowest artefact found. The artwork was recorded in detail in 2004. The recorder considered the radiocarbon date to be 'anomalously young' because most of the artwork is in poor condition, suggesting that it was made 3000-2000 years ago. Other dated rock art sites in Southwestern Australia came into use 4000-3000 BP. The excavators argued that the site was fairly insignificant, while the rock art researcher thought the profusion of motifs (452) made it a site of some significance, particularly in Southwestern Australia. The main aim of this study was to investigate these conflicting claims by re-investigating how Mulka's Cave had been used by Aboriginal people in the archaeological past.
This research became possible because local tourist organisations obtained federal funding to install an elevated walkway outside the cave in 2006. Under Section 18 of the Aboriginal Heritage Act (1972) 12 of the 34 postholes required were excavated and artefacts were collected from all the ground surfaces to be impacted. Subsequently, under Section 16 of the AHA, four, small, 0.5 x 0.5 m, testpits were excavated around the site: outside the cave entrance, on The Humps and in the Camping Area; a sheltered spot where the Traditional Owners had camped as children, with their grandparents. Organic material was scarce, so analysis focused on the numbers and types of stone artefacts recovered. The artefacts excavated in 1988 were also re-analysed. Five radiocarbon dates were obtained, which suggested that people began visiting the Camping Area (and using ochre) about 6500 BP, making Mulka's Cave one of the oldest radiometrically dated rock art sites in southern Western Australia.
The artefact data from Mulka's Cave were compared to those from these sites. The low artefact discard rate and high proportion of retouched/formal tools found at Mulka's Cave may indicate that the site was used differently from the other sites, but the data are problematic. Most (70%) of the handstencils in Mulka's Cave can be attributed to adolescents, possibly boys, which may also suggest that the site had ceremonial significance; perhaps as a focus for male initiation rituals. The artefact data do not support this hypothesis, however. There is no evidence of spatial patterning in artefact type or frequency across the site, which would be expected if the cave had had a ritual function. Instead, the Camping Area, Walkway Area and Mulka's Cave itself seem to have been used similarly.
It was concluded that, given the scarcity of free-standing potable water in the surrounding region and the presence at The Humps of two capacious gnammas (rockholes), that people probably visited the site when the gnammas were full. A wide variety of plant and animal foods would also have been available before the country was cleared for agriculture. When at Mulka's Cave, they may well have added to the corpus of rock art and carried out other ceremonial business, but there is no archaeological evidence for the latter.
It was also concluded that much more research needs to be undertaken in this neglected part of the semi-arid zone before the significance of Mulka's Cave can be properly assessed and its place in the archaeological record of Southwestern Australia determined.
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Fang, Zihan 1962. "Chinese city parks: Political, economic and social influences on design (1949-1994)." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278614.
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This thesis is an attempt to understand the purposes of modern Chinese park design. The goal of this work was to identify the social, economic, and political factors influencing contemporary park design. The primary approach was analysis of case studies. By analyzing characteristics of parks constructed at different stages in urban park history and in the cultural history of China, the results provide strong support for important political, economic, and social influences on park design.
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Grguric, Nicolas Grguric, and eqeta@yahoo com au. "Fortified Homesteads: The Architecture of Fear in Frontier South Australia and the Northern Territory, ca 1847-1885." Flinders University. Humanities, 2007. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20080225.161715.
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This thesis is an investigation into the use of defensive architectural techniques by
civilian settlers in frontier South Australia and the Northern Territory between 1847 and
1885. By focussing specifically on the civilian use of defensive architecture, this study
opens a new approach to the archaeological investigation and interpretation of Australian
rural buildings, an approach that identifies defensive strategies as a feature of Australian
frontier architecture.
Four sites are analysed in this study area, three of which are located in South Australia
and one in the Northern Territory. When first built, the structures investigated were not
intended, or expected, to become what they did - their construction was simply the
physical expression of the fear felt by some of the colonial settlers of Australia. Over
time, however, the stories attached to these structures have come to play a significant part
in Australias frontier mythology.
These structures represent physical manifestations of settler fear and Aboriginal
resistance. Essentially fortified homesteads, they comprise a body of material evidence
previously overlooked and unacknowledged in Australian archaeology, yet they are
highly significant in terms of what they can tell us about frontier conflict, in relation to
the mindsets and experiences of the settlers who built them. This architecture also
constitutes material evidence of a vanguard of Australian colonisation (or invasion) being
carried out, not by the military or police, but by civilian settlers.
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Apart from this, these structures play a part in the popular mythology of Australias
colonial past. All of these structures have a myth associated with them, describing them
as having been built for defence against Aboriginal attack. These myths are analysed in
terms of why they came into existence, why they have survived, and what role they play
in the construction of Australias national identity. Drawn from, and substantiated
through, the material evidence of the homesteads, these myths are one component of a
wider body of myths which serve the ideological needs of the settler society through
justifying its presence by portraying the settlers as victims of Aboriginal aggression.
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.
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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Brock, Stephen James Thomas, and brock stephen@saugov sa gov au. "A Travelling Colonial Architecture: Home and Nation in Selected Works by Patrick White, Peter Carey, Xavier Herbert and James Bardon." Flinders University. Australian Studies, 2003. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20070424.101150.
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This thesis is a study of constructions of home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon. Drawing on the work of postcolonial theorists, it examines ways in which the selected texts engage with national mythologies in the imagining of the Australian nation. It notes the deployment of racial discourses informing constructions of national identity that work to marginalise Indigenous Australians and other cultural minority groups.
The texts are arranged in thematic rather than chronological order. Whites treatment of the overland journey, and his representations of Aboriginality, discussed in Chapter One, are contrasted with Careys revisiting of the overland journey motif in Oscar and Lucinda in Chapter Two. Whereas Whites representations of Indigenous culture in Voss are static and essentialised, as is the case in Riders in the Chariot and A Fringe of Leaves, Careys representation of Australias contact history is characterised by a cultural hybridity. In Whites texts, Indigenous culture is depicted as an anachronism in the contemporary Australian nation, while in Careys, the words of the coloniser are appropriated and employed to subvert the ideological colonial paradigm.
Careys use of heteroglossia is examined further in the analysis of Illywhacker in Chapter Three. Whereas Carey treats Australian types ironically in Illywhackers pet emporium, the protagonist of Xavier Herberts Poor Fellow My Country, Jeremy Delacy, is depicted as an expert on Australian types. The intertextuality between Herberts novel and the work of social Darwinist anthropologists in the 1930s and 1940s is discussed in Chapter Four, providing a historical context to appreciate a shift from modernist to postmodernist narrative strategies in Careys fiction.
James Bardons fictional treatment of the Papunya Tula painting movement in Revolution by Night is seen to continue to frame Indigenous culture in a modernist grammar of representation through its portrayal of the work of Papunya Tula artists in the terms of the fourth dimension. Bardons novel is nevertheless a fascinating postcolonial engagement with Sturts architectural construction of landscape in his maps and journals, a discussion of which leads to Tony Birchs analysis of the politics of name reclamation in contemporary tourism discourses.
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Evans, Ian Joseph. "Touching magic: deliberately concealed objects in old Australian houses and buildings." Thesis, 2010. http://hdl.handle.net/1959.13/917146.
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Higher Doctorate - Doctor of Philosophy (PhD)The objective of the research that resulted in this thesis was to establish whether the practice of concealing objects in sealed voids in old houses and other buildings, widely known in the United Kingdom for many centuries, also occurred in Australia. The supplementary tasks were to establish how widespread it was, the period in which it occurred, and whether the practice displayed the same characteristics as in the United Kingdom. These objectives necessitated the discovery, photography and recording of as many concealed objects as could be located. Distinguishing qualifying objects from random losses or strays was based upon personal experience in the field together with information derived from research in the UK and discussions with colleagues in this area of research in that country. Following on from that, my intention was to place this custom within the framework of folk magic rituals carried out in England until the early-mid 20th century. By confirming that folk magic was intricately woven into the lives of the English people a high probability that such practices were brought to Australia by convicts and settlers became evident. This research required an unusual methodology in that the virtually complete absence of any contemporary documentation, an absence of record that is recognised by UK researchers, suggested that a similar void might exist in Australian archives and libraries. My own prior extensive research into Australian domestic architecture had already failed to identify any references to such practices in this country in the literature relating to architecture, social history or the building trades in both Australia and England. The focus of the research project therefore was to find as many concealed objects in Australian structures as possible and to examine and record these finds in an effort to understand the practice from a scrutiny of the objects and the place and manner of their concealment. The discovery phase was implemented by means of media releases, radio and television interviews, published articles in mainstream and heritage media and by lectures to specialist groups, particularly archaeologists. The result of this work, extending over a period of more than six years and which included travel to Tasmania, Victoria, South Australia, Queensland and within New South Wales, resulted in the accumulation of a significant number of finds of deliberately concealed objects. These have been recorded in a National Catalogue of Finds on which this thesis is based. It was confirmed that objects, which in the context of this research include boots and shoes, garments, cats and a variety of domestic artifacts and children's toys, were concealed in Australian houses and buildings, that they were both numerous and extremely widely distributed, that the types of objects and their placements were the same as those found in the United Kingdom and elsewhere and in consequence that a folk magic custom long established in the United Kingdom was practiced in this country, raising the possibility of an ancient lineage for a practice that was previously unknown in Australia. Further research is recommended in an effort to extend the scope of this one-man study. It is considered that this research will produce new insights into the lives of Australians in the period 1788 – 1930s.
Books on the topic "Australian architectural history"
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Society of Architectural Historians, Australia & New Zealand. Conference. Australian studies in architectural history: Papers from the Fifth Annual Conference of the Society of Architectural Historians, Australia & New Zealand. Belconnen, ACT, Australia: The Society, 1990.
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Perren, Claudia. Living the modern: Australian architecture. Ostfildern: Hatje Cantz, 2007.
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Leaves of iron: Glenn Murcutt, pioneer of an Australian architectural form. Sydney: Law Book Co., 1985.
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Leaves of iron: Glenn Murcutt, pioneer of an Australian architectural form. North Ryde: Angus & Robertson, 1991.
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Takle, Gary, and Stephen Crafti. Best Australian architecture. South Morang, Vic: Think Pub., 2010.
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Jahn, Graham. Contemporary Australian architecture. [Australia?]: Gordon and Breach Arts International, 1994.
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Jennifer, Taylor. Australian architecture since 1960. Sydney: Law Book Co., 1986.
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Royal Australian Institute of Architects. Education Division., ed. Australian architecture since 1960. 2nd ed. Red Hill, A.C.T: National Education Division, Royal Australian Institute of Architects, 1990.
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Jessie, Serle, ed. Australians at home: A documentary history of Australian domestic interiors from 1788 to 1914. Melbourne: Oxford University Press, 1990.
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Quarry, Neville. Award winning Australian architecture. Sydney, NSW: Craftsman House, 1997.
Find full textBook chapters on the topic "Australian architectural history"
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"Edge of Centre: Architecture in Australia and New Zealand after 1965." In A Critical History of Contemporary Architecture, 465–88. Routledge, 2016. http://dx.doi.org/10.4324/9781315263953-30.
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Greenhalgh, Michael. "Virtual Reality, Relative Accuracy: Modelling Architecture and Sculpture with VRML." In Images and Artefacts of the Ancient World. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197262962.003.0006.
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This chapter evaluates current possibilities for the attainment of a realistic context over the web by attempting to match the basic requirements of art history scholarship and teaching against what is currently offered and what can be expected in the future. It surveys some ongoing research in the field from the perspective of an observer and a user. The first section of the chapter discusses virtual reality modelling language (VRML) and describes a project of the Supercomputer Group at the Australian National University. This project aimed to model, using VRML, the Buddhist stupa at Borobudur. The chapter also discusses a second project which deals with the Piazza de Popolo at Rome and the reasons why this project did not employ VMRL. The second section of the chapter examines some other ways in which an ordinary lecturer may use various simple technologies to conjure context, and with more flexibility, detail and accuracy that VRML can ever achieve.
Conference papers on the topic "Australian architectural history"
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Stevens, Quentin. "A Brief History of the Short-Term Parklet in Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4018pognw.
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This paper examines the history within Australia of the ‘parklet’, a small architecturally-framed open space installed temporarily on an on-street car-parking space. The paper traces parklets’ varied and evolving forms, materials, production processes and functions. It examines how parklets have adapted to rapidly-changing social needs and priorities for economic activity, health, safety, socialising and on-street parking, and changes in street function. The contemporary parklet began in 2005 as a localised, grassroots activity to temporarily reclaim street space for public leisure, as part of the wider movement of ‘tactical urbanism’. Parklets rapidly became a worldwide phenomenon. Starting in 2008, parklets were absorbed into institutional urban planning practice, as a strategic tool to enhance community engagement, test possibilities, and win support for longer-term spatial transformations. From 2012, commercial parklet programs were developed in Australian cities to encourage local businesses to expand into street parking spaces, to calm traffic and enhance pedestrian amenity. A new generation of commercial ‘café parklets’ has emerged during the COVID-19 pandemic, facilitated by local governments, to support the heavily-impacted hospitality industry. Their design and construction show ongoing innovation, increasing scale and professionalism, but also standardisation. This paper draws on diverse Australian parklet examples to chart the emergence of varying approaches to their design and construction, which draw upon different materials, skills, local government strategies and international precedents. The findings also illustrate several convergences in the evolution of parklet design across different Australian cities, due to strong similarities in the spatial contexts, needs, risk factors, and technologies that have defined this practice.
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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.
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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Lewi, Hanna, and Cameron Logan. "Campus Crisis: Materiality and the Institutional Identity of Australia’s Universities." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4019p8ixw.
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In the current century the extreme or ‘ultra’ position on the university campus has been to argue for its dissolution or abolition. University leaders and campus planners in Australia have mostly been unmoved by that position and ploughed on with expansive capital works campaigns and ambitious reformulations of existing campuses. The pandemic, however, provided ideal conditions for an unplanned but thoroughgoing experiment in operating universities without the need for a campus. Consequently, the extreme prospect of universities after the era of the modern campus now seems more likely than ever. In this paper we raise the question of the dematerialised or fully digital campus, by drawing attention to the traditional dependence of universities on material and architectural identities. We ask, what is the nature of that dependence? And consider how the current uncertainties about the status of buildings and grounds for tertiary education are driving new campus models. Using material monikers to categorise groups of universities is something of a commonplace. There is the American Ivy League, which refers to the ritualised planting of ivy at elite colleges in the late nineteenth and early twentieth centuries. The English have long referred to their “red brick” universities and to a later generation as the “plate glass” universities. In Australia, the older universities developed in the colonial era came to be known as the “sandstones” to distinguish them from the large group of new universities developed in the postwar decades. While some of the latter possess what are commonly called bush campuses. If nothing else, this tendency to categorise places of higher learning by planting and building materials indicates that the identity of institutions is bound up with their materiality. The paper is in two parts. It first sketches out the material history of the Australian university in the twentieth century, before examining an exemplary recent project that reflects some of the architectural and material uncertainties of the present moment in campus development. This prompts a series of reflections on the problem of institutional trust and brand value in a possible future without buildings.
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Corkhill, Anna, and Amit Srivastava. "Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4015pq8jc.
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This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
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Raisbeck, Peter. "Reworlding the Archive: Robin Boyd, Gregory Burgess and Indigenous Knowledge in the Architectural Archive.” between Architecture and Engineering." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3985p56dc.
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In her book Decolonising Solidarity: Dilemmas and Directions for Supporters of Indigenous Struggles, Clare Land suggest how non-Indigenous people might develop new frameworks supporting Indigenous struggles. Land argues research is deeply implicated with processes of colonisation and the appropriation of indigenous knowledge. Given that architectural archives are central to the research of architectural history, how might these archives be decolonised? This paper employs two disparate archives to develop a framework of how architectural archivists might begin to decolonise these archives. Firstly, these archives are the Grounds Romberg and Boyd Archive (GRB) at the State Library of Victoria (SLV). Secondly, the Greg Burgess Archive is now located at Avington, Sidonia in Victoria. The materials from each of these archives will be discussed in relation to two frameworks. These are the Tandanya-Adelaide Declaration endorsed by The Australian Society of Archivists (ASA) and the Indigenous Cultural and Intellectual Property (ICIP) framework developed by Janke (2019). These archival frameworks suggest how interconnected architectural histories and historiographies might be read, reframed and restored. Decolonising architectural archives will require a continuous process of reflection and political engagement with collections and archives. In pursuing these actions, archivists and architectural historians can begin to participate in the indigenous Reworlding of the archive.
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Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.
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Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
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Petrović, Emina Kristina. "Two Conceptualisations of Change in Architectural History: Towards Driving Pro-sustainable Change in Architecture." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4006pqv8s.
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At the time when it is important to act on the Climate Emergency and other pro-sustainable efforts, the key question is how to drive change. This paper examines two conceptualisations of change in architectural history in an attempt to support a better understanding of architecture-specific conceptualisations of change itself. Such understanding could offer real value in articulating how to drive pro-sustainable change in architecture. The paper identifies two conceptualisations of change which are easily found in existing writing on change in architectural history. One such conceptualisation considers architectural developments in terms of cyclical styles, or triads of early, high, and decadent stages of development of styles. Attributed to the 18th century writing of Johann Joachim Winckelmann on ancient Greek art, this conceptualisation presents one useful interpretation which links the change with natural growth. A simpler conceptualisation of two-point change is interpreted using the minor/major interpretations of change, as developed by Joan Ockman, based on the work of Gilles Deleuze and Félix Guattari. The key proposition is that the selected historical examples of conceptualisation of change reveal useful aspects of the past patterns of change in architecture. These might help understand how to drive needed change now. One critical factor in the transition which is facing us now, is that in contrast to many past transitions which were driven by technological innovation, current transition requires development of technologies capable to support the change which is scientifically proven as needed and real. Therefore, some of the historical natural ease of the past transitions in the current contexts needs active driving of change. Without an intention to propose a holistic new framework, the main value of this paper is that it identifies some of the key conceptualisations which are evident in architectural history and that could be useful in driving pro-sustainable change.
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Mađanović, Milica, Cameron Moore, and Renata Jadresin Milic. "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4007piywz.
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In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good character. But what did he really mean by this? A close reading of three books Gummer considered invaluable to architectural students – The Essentials of Composition as Applied to Art by John Vredenburgh Van Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The Mistress Art by Reginald Bloomfield – offers a direct insight into the influences behind his thinking about architecture and his architectural production. Directly traceable to Gummer, the three titles include clear, precise instructions on both the functional and artistic nature of architectural design. Interestingly, this paper employs a method not dissimilar to Gummer’s design method. These books taken together, along with Gummer’s own writing, a study of renderings and construction drawings, and close observation of the buildings, an architectural analysis of Gummer’s work becomes possible – it is what Gummer himself referred to as Architectural Research. This historically focused study will bring a new perspective to understanding the value and contribution of traditional architects, not only in New Zealand but other English-speaking countries.
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.
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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Shroff, Meherzad B., and Amit Srivastava. "Hotel Australia to Oberoi Adelaide: The Transnational History of an Adelaide Hotel." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3996p40wb.
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In the decades following the war, the spread of international luxury chain hotels was instrumental in shaping the global image of modernity. It was not simply the export of modernist architecture as a style, but rather a process which brought about an overall transformation of the industry and culture surrounding modern domesticity. For Adelaide, well before the arrival of large brand hotel chains like Hilton and Hyatt, this process was initiated by the construction of its first international style hotel in 1960 – Australia Hotel. The proposed paper traces the history of this structure and its impact not only on local design and construction industries but also on domestic culture and lifestyle after the shadow period of recovery after the war. This paper looks at three specific enduring legacies of this structure that went well beyond the modernist aesthetics employed by its original designers, the local firm of Lucas, Parker and Partners. The hotel was one of the first to employ the new technology of lift-slab construction and was recognised by the Head of Architecture at the University of Adelaide, Professor Jensen, as the outstanding building of 1960. It is argued that it was the engagement with such technological and process innovations that has allowed the building to endure through several renovation attempts. In her study of Hilton International hotels, Annabelle Wharton argues how architecture was used for America’s expansion to global economic and political power. Following on from her arguments, this paper explores the implications of the acquisition of the Australia Hotel by the Indian hotel chain Oberoi Hotels in the late 1970s when it became Oberoi Adelaide. The patronage of Indian hotelier Mohan Singh Oberoi came alongside the parallel acquisition of Hotel Windsor in Melbourne, heralding a new era of engagement with Asia. Finally, the paper also highlights the broader impact of this hotel, as a leisure venue for the burgeoning middle class, on the evolving domestic culture of Adelaide.
Reports on the topic "Australian architectural history"
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Burns-Dans, Elizabeth, Alexandra Wallis, and Deborah Gare. A History of the Architects Board of Western Australia, 1921-2021. The Architects Board of Western Australia and The University of Notre Dame Australia, 2021. http://dx.doi.org/10.32613/reports/2021.1.
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An economic and population boom in the 1890s created opportunities for architects to find work and fame in Western Australia. Architecture, therefore, became a viable profession for the first time, and the number of practicing architects in the colony (and then state) quickly grew. Associations such as the Western Australian Institute of Architects were established to organise the profession, but as the number of architects grew and Western Australian society matured, it became evident that a role for government was required to ensure practice standards and consumer protection. In 1921, therefore, the Architects Act was passed, and, in the following year, the Architects Board of Western Australia was launched. This report traces the evolution and transformation of professional architectural practice since then, and evaluates the role and impact of the Board in its first century.