Minutes attachments - City of Boroondara

Transcription

MINUTES ATTACHMENTS
Urban Planning Special Committee
Monday 14 November 2013
Attachments annexed to the minutes for the following
items:
UPC3
268 High Street, Ashburton
UPC4
Boroondara Planning Scheme Amendment C178 introduce Heritage Overlays and other administrative
heritage updates
14/11/13
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Urban Planning Special Committee Minutes
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City of Boroondara
UPC3 Appendix A, Page 1 of 1
MINUTES ATTACHMENTS
Urban Planning Special Committee
Monday 14 November 2013
Attachments annexed to the minutes for the following
items:
UPC4
Boroondara Planning Scheme Amendment C178 introduce Heritage Overlays and other administrative
heritage updates
14/11/13
________________________________________________________________________
Attachment 1
STATE SAVINGS BANK AND RESIDENCE, FORMER
Prepared by: Context PL
Address: 1395 Toorak Road, Camberwell
Name: State Savings Bank & Residence, former
Survey Date: 24 August 2012
Place Type: Commercial
Architect: GB Leith
Grading: Individually significant
Builder: RF Anderson
Extent of Overlay: To title boundaries
Construction Date: 1938
Photo
Historical Context
Banks in Boroondara
The following is an extract from the City of Boroondara Thematic Environmental History
(Built Heritage 2012:104):
Notwithstanding the catastrophic impact of the 1890s financial crisis, a number of grand
mid-Victorian trading banks emerged triumphantly in the early twentieth century to restart
their programmes of branch expansion – typified by the ES&A Bank, which opened a
branch in Maling Road, Canterbury (demolished) in 1907. This same period, however,
saw the passing of two pieces of legislation that would have a profound impact on the
subsequent development of banking in Victoria. The first of these was the
Commonwealth Bank Act 1911, which brought about the creation of the new
Commonwealth Bank of Australia as the country's federally-regulated financial institution.
This was followed by the Savings Banks Act 1911, which drew together all existing banks
that operated under the earlier Savings Bank Act 1890, and united them as the State
Savings Bank of Victoria (SSB). During the intervening period of re-structure and
consolidation, the SSB had already begun to expand its network of branches throughout
suburban Melbourne; the study area was no exception, with new outlets opening in the
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established commercial strips of Burke Road, Hawthorn East (1907) and High Street,
Kew (1908) and Maling Road, Canterbury (c.1914). This phase of expansion continued
into the 1920s, when new branches of the SSB opened in some of the outlying parts of
the study area, including Glen Iris (c.1923), Balwyn (c.1925) and Kew East (1926). An old
rival, the ES&A Bank, also opened a new branch at Kew East that year, while still
maintaining its original Gothic-style premises in High Street.
The expansion of branch banking networks across the study area intensified towards the
end of the 1930s. During the years 1938-39, the SSB established new branches at
Glenferrie Road, Hawthorn North, and Toorak Road, Burwood, while the Bank of
Australasia built others at Cotham Road, Kew, and Burke Road, South Camberwell, and
the Commercial Bank of Australia opened another at High Street, Kew (one of several
local banks to be closed during the War). Notwithstanding their chronological proximity,
these banks contrasted in architectural style. The branches of the SSB – designed by the
bank's long-time in-house architect, George Burridge Leith – were in the Classical
Revival mode, while those erected by the Bank of Australasia (who used A & K
Henderson as their regular designers) were in the more progressive and fashionable
Moderne idiom. By 1940, the SSB had established itself as the most well-represented
banking institution in the study area, with no fewer than seventeen branches – nine in
Camberwell, six in Hawthorn, and two in Kew. At that time, the ES&A Bank had eight
branches across the entire study area, while the National Bank of Australasia had four,
and the Union Bank of Australia had just one. The Commonwealth Bank of Australia was
not represented at all until 1939, when a branch opened at 759 Burke Road, Camberwell
(since rebuilt); others subsequently opened at Hawthorn (c1947) and Kew (c1955).
State Savings Bank of Victoria
The State Bank of Victoria was established by 1912 when the Savings Banks Act
(No.2365) provided for all Banks then operating under the Savings Banks Acts to be
collectively named The State Savings Bank of Victoria. Services offered by the Bank
included savings bank facilities, special loans to discharged soldiers (from 1917), building
homes for people of small means (from 1920s), including the Garden City estate at
Fisherman's Bend and credit foncier facilities including mortgage loans and sale of
debentures. The credit foncier scheme was one of the first of many introduced in
Australia over the first decades of the twentieth century and became known colloquially
as the 'cheap money' scheme. By the 1920s the success of the credit foncier scheme led
to the Bank adding other loans on special conditions for lower income workers and
returned servicemen (Murray & White, 1992:207-17).
A history of the Bank notes that:
"One of the results of the new thrust into housing was that, to get the best combination of
low prices and high standards, the Bank effectively became a builder in its own right,
issuing standard designs and selecting building contractors for many of the houses it
financed. A 'Bank home' became an affordable goal, a symbol of achievement and
recognition that the house was solidly built. Such was the enthusiasm of Victorian
workers for Bank-financed and built homes that by the mid-1920s the Bank was the
largest home builder in Victoria." (Murray & White, 1992:207-17)
Credit foncier borrowers from the SSBV could choose one of the bank's own house
designs, or choose their own design. Whatever the design, the bank required a high
standard of construction/supervision, which seems to have been the basis for the very
high reputation of a 'State Bank house' for many years. Most State Bank homes were
built in the metropolitan area, and few were built in groups. It is thought that up to 7,500
were built, principally between 1921-30, then less until 1939. All except 300 were in
Melbourne and these mostly in the ring of suburbs: Brunswick, Coburg, Preston,
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Hawthorn, Kew, Ivanhoe, Heidelberg, Box Hill, Camberwell, Malvern, Oakleigh and
Brighton (Murray & White, 1992:207-17).
In 1991 the SSB merged with the Commonwealth Bank (Museum Victoria, nd).
History
The State Savings Bank of Victoria is located on the corner of Toorak Road and Melton
Avenue, Camberwell. In the early twentieth century, this portion of Toorak Road, between
Summerhill and Warrigal roads, was known as Norwood Road, Burwood and the
shopping strip was referred to as the Village of Norwood. The Village of Norwood was
formed around Thornecombe's Hotel, which opened at the corner of what is now Toorak
and Warrigal roads in 1858, but it did not begin to develop in earnest until the interwar
period (Built Heritage 2012:48; S&Mc).
The bank and integral residence were designed in 1937 by architect G Burridge Leith,
Chief Architect of the State Savings Bank. The banking chamber was on the ground floor,
with the bedrooms of the residence above it, and the rest of the residence in a mostly
single-storey wing at the rear. It was constructed in 1938 by builder RF Anderson at a
cost of 4,500 pounds (original drawings, dated 1937 in Council building file; Building
permit No 8282 dated 08/02/1938 & No 28445 dated 19/01/1961). There was a 180
square foot (17 sqm) addition made in 1961 (Building permit No 28445 dated
19/01/1961). This may have been the addition of the upper level above the residence
entry, which is not shown on the 1937 plans, though it has all the same detailing and
cladding as the rest of the residence so may in fact date from the original building
campaign.
G B Leith, Architect
George Burridge Leith (1888 - 1969) was an architect whose greatest legacy is his
designs for the State Savings Bank of Victoria.
In 1890, George Burridge Leith's father, George Brown Leith (1858-1937), established an
architectural practice at 408 Collins Street, Melbourne. It closed during World War I,
when George Burridge Leith served with the AIF. Upon his return, Leith joined his father
and they practiced under the name GB & G Burridge Leith, from 1918 (Uni of Melb
archives; Roser 2012:403; AIF project).
In 1920, George Burridge Leith accepted a position as the Chief Architect for the Housing
Department of the State Savings Bank of Victoria, upon which the practice with his father
lapsed (Roser 2012:403). There he was the Chief Architect of the Housing Department
of the State Savings Bank until his retirement in 1953 and became one of the most
influential men in the Bank (Murray & White 1992:204-17).
As Chief Architect, Leith designed a series of 'Bank homes' - plans for standard homes,
which sub-contractors built under the supervision of the Bank's Building Department. Up
to 30 bungalow designs were produced by the Department. He was also responsible for
the designs of the many new bank branches built throughout the state (Murray & White,
1992:207-17).
Description & Integrity
The former State Savings Bank at 1395 Toorak Road, Camberwell, is a two-storey Greek
Revival building with an attached residence at the rear. The bank sits on the north-east
corner of Toorak Road and Melton Avenue, with no setback from the footpath. The
residence is set back slightly from its frontage on Melton Avenue to allow for an entrance
porch and side yard. Both parts have varicoloured brown glazed face brick, and
terracotta tiles on the hip roofs.
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The imposing banking chambers are set on a high plinth of rock-faced bluestone, harking
back to 19th-century banks. The ground and first floors are articulated by giant-order
fluted Ionic pilasters on both frontages. Above them is a plain frieze, dentillated cornice
and a simplified Greek pediment (a form that was very popular in the interwar period for
commercial buildings) which conceals the roof. The ground-floor steel windows continue
with this influence with Greek cross motifs in the window highlights. The first floor
windows have a more typical late 1930s window type of two-over-two double-hung sash
windows with horizontal glazing bars. The ground and first-floor windows of each bay are
encompassed in a single moulded architrave, adding to the vertical emphasis. The
pilasters, cornice and pediment and mouldings around the windows are all of cement
render.
The residence is set behind the bank, with a separate entrance to Melton Avenue. The
entrance porch is located next to the junction with the bank. This single-bay section is
two-storeys - though lower in overall height than the bank - with a visible hip roof and
geometric corbelled cornice. The upper level is not shown on the 1937 plans, but is
seamlessly integrated into the building in the same glazed bricks and with the same type
of sash windows and corbelled cornice. It is either an early and sympathetic addition, or
an alteration to the 1937 plans and part of the original building campaign (there are other
changes to the 1937 design of the residence, such as the windows, that support this
theory). The entry is the most striking and detailed area of the residence. A flat-roof
portico rests on short fluted square columns, which in turn rest of brick piers. The low
entrance gate to the porch is of mild steel with Greek cross and circle motifs. The
residence door has the upper two-thirds glazed with 12 panes of bevelled glass. It has
two sidelight panels, each with another four bevelled panes. The windows to the
residence are simple one-over-one double-hung sashes, and the chimney at the rear is
unadorned and rectangular in form.
No external changes were noted to the banking chambers or residence, apart from the
removal of the eight-panelled door to the banking chamber seen on the 1937 plans. As
noted above, the upper level to the residence was executed in the same materials and
details as the rest of this section, so even if it is an alteration, it is a sympathetic one.
There is a modern brick carport at the rear of the site which replaced a small brick garage
shown in the 1937 plans.
Comparative Analysis
All buildings identified as banks and former banks in Boroondara's planning scheme
which are of individual significance date from the 19th century. None from the interwar
period appear to have a significant grading.
The Thematic Environment History (Built Heritage, 2012), as cited above, lists a few
banks built at the same time (1938-9) as the former bank at 1395 Toorak Road. These
are:
-
Former SSB at 822 Glenferrie Road, Hawthorn North (Graded D in G Butler
Upper Hawthorn Study, 1983; contributory to precinct in Hawthorn Precincts
Study, 2008). A two-storey rendered corner building with a rock-faced bluestone
plinth, modillion cornice and simplified Greek pediment. It lacks the giant-order
pilasters and grandeur of the Toorak Road bank. The ground-floor windows have
been lengthened (destroying part of the plinth) and the original windows and door
have been lost. It is likely that this building was designed by GB Leith.
-
Former Bank of Australasia, 109 Cotham Road, Kew, c1938-9 (Identified in Kew
Conservation Study, 1987). A Streamlined Moderne corner building of brown
brick with a curved corner and curved concrete hood over the entry.
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Unfortunately all horizontal steel windows to ground floor have been lengthened
and replaced with modern examples, greatly changing its original horizontal lines.
-
Former Bank of Australasia, 676-8 Burke Road, South Camberwell (Identified as
SSB(?) c1940, graded C in Camberwell Heritage Study, 1991). A single-storey
corner building of overpainted brick in a very simplified Moderne style. The main
design features are delicate projecting bands above the windows and a raised
pavilion at the corner. Appears to have been extensively altered.
-
Commercial Bank of Australia, High Street, Kew - it is unclear which building this
is, though there is a former National Bank at 657 High Street, Kew East graded B
in the City of Kew Conservation Study, 1987. It is a single-storey corner building
in the Greek Revival style. Walls are rendered, with a simple cornice and parapet.
The windows to the side elevation site between render pilasters and have Greekcross highlights. The original corner entrance has been bricked in since 1987,
and a new shopfront has been created on the High Street elevation.
Among this group of late-interwar bank buildings, many employed a simplified version of
the Greek Revival. Among all of them, the former SSB on Toorak Road stands out by
virtue of its very high intactness, its monumentality, and high-quality detailing and
cladding materials. The residence at the rear of the former SSB also contributes to its
architectural significance, with the beautifully designed entry. The other two-storey banks
may have had a manager's residence on the first floor, but this is not expressed in the
design.
A survey of Hermes place records makes it clear that Leith designed a number of Greek
Revival banks during his time with the SSB, both in suburban locations (such as 438
Centre Road, Benleigh, of 1927, HO98, Glen Eira; 600 Plenty Road, Preston, of c1928,
HO 243, Darebin), and a lesser number in country towns (5 Radovick Street,
Korumburra, of 1940). Among all of the designs with photos on Hermes, the SSB branch
at 1395 Toorak Road is one of the most polished and formal, with an unusually high level
of detail.
Assessment Against Criteria
Criteria referred to in Practice Note 1: Applying the Heritage Overlay, Department of
Planning and Community Development, September 2012, modified for the local context.
CRITERION A: Importance to the course, or pattern, of the City of Boroondara's cultural
or natural history (historical significance).
The former State Savings Bank illustrates the development of the (former) Village of
Norwood during the interwar period. While it was established in the late 1850s, its early
commercial development was all but subsumed by interwar and postwar development on
the Toorak Road shopping strip.
It also demonstrates the intensification of expanding bank branch networks in
Boroondara during the late 1930s, by the State Savings Bank, Bank of Australasia, and
Commercial Bank of Australia.
CRITERION B: Possession of uncommon, rare or endangered aspects of the City of
Boroondara's cultural or natural history (rarity).
Not identified
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CRITERION C: Potential to yield information that will contribute to an understanding of
the City of Boroondara's cultural or natural history (research potential).
Not identified
CRITERION D: Importance in demonstrating the principal characteristics of a class of
cultural or natural places or environments (representativeness).
The former State Savings Bank is a representative example of the many new bank
branches that were constructed in Boroondara as part of the banks' expansion at the end
of the 1930s. It also visually illustrates the provision of a bank manager's residence on
site, which was a necessity in the pre-automobile era, and phased out in the post-war
era.
CRITERION E: Importance in exhibiting particular aesthetic characteristics (aesthetic
significance).
The former State Savings Bank building exhibits the aesthetic characteristics of the
Greek Revival used in a relatively free manner. These features include the giant-order
Ionic pilasters, dentillated cornice, and pediments in a simplified Greek temple form.
CRITERION F: Importance in demonstrating a high degree of creative or technical
achievement at a particular period (technical significance).
Both in comparison with other interwar banks in the City of Boroondara and GB Leith’s
Greek Revival State Savings Banks in other municipalities, the Toorak Road branch
stands out due to its monumentality, high quality detailing and cladding materials, and
high level of intactness.
CRITERION G: Strong or special association with a particular community or cultural
group for social, cultural or spiritual reasons. This includes the significance of a place to
Indigenous peoples as part of their continuing and developing cultural traditions (social
significance).
Not identified
CRITERION H: Special association with the life or works of a person, or group of
persons, of importance in the City of Boroondara's history (associative significance).
The former SSB has associations with GB Leith, the Chief Architect of the SSB from
1920 to 1953. This bank branch is one of his most accomplished designs of the interwar
period. Leith’s designs had an enormous impact on the face of interwar Victoria, both in
Boroondara and beyond, not only with his bank branch designs seen in many suburbs
and country towns, but in the thousands of bungalows built to his standard designs with
SSB finance.
Statement of Significance
What is Significant?
The former State Savings Bank branch and residence at 1395 Toorak Road,
Camberwell, constructed in 1938 by builder RF Anderson to a design by George Burridge
Leith, the Chief Architect of the State Savings Bank of Victoria.
The small upper floor above the residence entry may be an early addition, as it is not
shown on the 1937 plans, but it was integrated seamlessly into the overall design in
detail and cladding materials, so is contributory to the whole.
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The modern carport at the rear is not contributory.
How is it significant?
The bank and residence are of local aesthetic, architectural and historical significance to
the City of Boroondara.
Why is it significant?
Aesthetically, the bank is a very accomplished example of the interwar Greek Revival.
Typical features of this style include the giant-order Ionic pilasters, dentillated cornice,
and pediments in a simplified Greek temple form, which contrast with the modern glazed
bricks. In comparison with other banks built in Boroondara during this period, it is also
distinguished by its very high level of intactness. (Criteria E & F)
Architecturally, the bank is one of the most accomplished Greek Revival designs of
architect George Burridge Leith. GB Leith was the Chief Architect of the State Savings
Bank from 1920 to 1953. Leith’s designs had a major impact on Melbourne’s suburbs
during the interwar era – both through his design of bank branches such as this one and
the standardised timber and brick bungalow designs built with State Savings Bank
finance. Many of these houses still survive in Hawthorn, Kew, Camberwell and Glen Iris.
(Criterion H)
Historically, the bank and residence demonstrate the intensification of expanding bank
branch networks in Boroondara during the late 1930s, by the State Savings Bank, Bank
of Australasia, and Commercial Bank of Australia. The provision of an integral manager’s
residence also illustrates a common practice for all sorts of business (banks, shops, etc.)
prior to the postwar dominance of the car and commuting to work. (Criterion A)
Grading and Recommendations
Recommended for inclusion in the Schedule to the Heritage Overlay of the Boroondara
Planning Scheme as an individually Significant place.
Recommendations for the Schedule to the Heritage Overlay (Clause 43.01) in the
Boroondara Planning Scheme:
External Paint Colours
Is a permit required to paint an already painted surface?
Internal Alteration Controls
Is a permit required for internal alterations?
Tree Controls
Is a permit required to remove a tree?
Victorian Heritage Register
Is the place included on the Victorian Heritage Register?
Incorporated Plan
Does an Incorporated Plan apply to the site?
Outbuildings and fences exemptions
Are there outbuildings and fences which are not exempt from
notice and review?
Prohibited uses may be permitted
Can a permit be granted to use the place for a use which would
otherwise be prohibited?
Aboriginal Heritage Place
Is the place an Aboriginal heritage place which is subject to the
requirements of the Aboriginal Heritage Act 2006?
No
No
No
No
No
No
No
No
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Identified By
G Butler, Camberwell Conservation Study, 1991.
References
Boroondara City Council building files notes, (former) '443 (later 1395) Toorak Road, cr.
Melton Avenue' includes original drawings.
Built Heritage (2012), 'City of Boroondara Thematic Environmental History', prepared for
Hermes records, as cited above.
Murray R & K White (1992), A bank for the people: A history of the State Bank of Victoria,
North Melbourne.
Museum Victoria, 'The State Savings Bank of Victoria, Melbourne Victoria' webpage.
Retrieved from: http://museumvictoria.com.au/collections/themes/2470/the-state-savingsbank-of-victoria-melbourne-victoria (accessed 22 Nov. 2012).
Sands & McDougal directories 1910-1940.
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27 Canterbury Road, Canterbury
Address: 27 Canterbury Road, Camberwell
Name: House
Survey Date: 7 Dec. 2012
Place Type: Residential
Architect:
Builder: Mr Stephenson
Extent of Overlay: Lot 1 TP613803 & Lot 1 TP399716
Historical Context
This area of Camberwell saw the construction of a series of large houses in the 1890s, in
part due to improved rail transport to the area. They include 'Coolattie' at 29 Canterbury
Road and 'Linda' at 19 Canterbury Road, both set on large blocks of land. Many of these
large estates were subdivided and developed during the first three decades of the 20th
century (Lovell Chen, 2005: Coolatie citation), and developed with single-family houses
for the middle classes.
History
Paul Thomas, a boot importer of Melbourne, purchased a block of land (measuring
140'x284') from Elgar's Crown Special Survey at the south-east corner of Canterbury
Road and the newly created Stanley Grove in 1886. After his death, Emilie Antoinette
Thomas, Spinster (most likely Paul Thomas' daughter or perhaps sister), took possession
of the property in 1893 (LV: V1840/F894). By 1903, nothing had been built on the land
(MMBW Detail Plan No 1865, 1904).
In 1914, Emilie Antoinette Wiseman (nee Thomas) began subdividing the land, selling
Nos 4 and 6 Stanley Grove. Emilie died in 1916, and her heir - Ernest Albert Wiseman -
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continued to sell off parcels; 2 Stanley Grove in 1916, 27 Canterbury Road (house site) in
1917, and the tennis courts of 27 Canterbury Road in 1919 (LV: V1840/F894).
In October 1917, Ethel Bertha Goss and Ernest (Dick) Alfred Goss, law clerk, bought the
eastern portion of 27 Canterbury Road, with the entrance off Stanley Grove. The lot to
the west - where the tennis courts are now - was sold to another person.
A building permit was obtained from the City of Camberwell on 4 December 1917, for an
attic-storey dwelling ('1+' storeys) with 8 rooms of brick with a tile roof. The owner was
recorded as EA Goss, and the builder was a Mr Stephenson (Permit No 3813). The
architect of the house has not been identified.
In the 1917-18 rate book, Bertha Goss is rated for land on Canterbury Road (no number
is recorded, but the listing is just before number 29) that had a net annual value of £18. In
the 1918-19 rate book, the Goss' are rated for a seven-roomed brick house, in which two
people lived, and the net annual value had jumped accordingly to £85 (RB). Bertha Goss
is listed as the owner and Ernest Alfred Goss, law clerk, is recorded as the occupier. At
the time of his death in 1955, Ernest Goss was the oldest active member of the
Camberwell Cricket Club, as noted by a memorial in the Argus (2 Sep 1955:13).
In October 1937 the house was sold to George J Grecian, who sold it to Arthur and Joan
Cozens in October 1955 (LV: V4073/554).
In 1966, additions were carried out by builders Dillingham Construction. These included
the creation of a laundry (by enclosing part of the original northern verandah) and the
construction of a tiny, two-room addition to the west elevation. The original billiard room
on the first floor was also reconfigured to create bedrooms at this date. The small gabled
structure at the north end of the site is shown on the drawings as 'existing garage'
(Council building file). This brick building with a tiled roof has half-timbering to the gable
end and appears to be an original outbuilding.
The tennis courts on the west side of the current extent of number 27 do not appear to
have been added until after 1979 (LV: V8777/F784).
This is a very fine Arts & Crafts attic-style bungalow of 1918, which is highly intact, with
an original garage at the rear. The property is situated at the north-west corner of
Canterbury Road and Stanley Grove, with the main entrance facing Stanley Grove. The
house has generous setbacks to both streetfronts, while the backyard comprises the
north part of the block. A small garage is located at the north-west corner of the block.
The front yard of the house is surrounded by a modern high brick fence which is
sympathetic in its use of red brick, but obscures views to the house.
The walls of the house are of red brick with black tuckpointing with a wide band of
roughcast render at the top. At the junction of the two materials is a stringcourse of
moulded brick. It is beautifully detailed and follows the curved head of windows and the
top of the entrance arch. There is a similar brick moulding beneath the bow windows. The
roof is covered in Marseille tiles with decorative ridge capping and ram's horn finials. The
three chimneys (two tall on the back slope of the roof, and one short on the front) all have
a red-brick shaft, and roughcast-rendered top between flat projecting mouldings. There
are vertical lines of brick headers to the tops of the chimneys, providing a decorative
touch.
The primary roof form is a high-pitch running north-south. While the north (rear) elevation
is gabled, with a projecting minor gable on the east side, the south end of the roof is
nominally hipped with a large 'floating gable' (a gable set at the end of the hip roof,
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making the gabled form the dominant one and reducing the hipped roof to a decorative
'skirt'). There is a projecting gable beneath it on the east side, over the verandah,
mirroring the north elevation. This same device of a 'floating gable' is repeated at the
centre of the east elevation, with a recessed balcony in it.
The multiple gables are filled with combinations of scalloped timber shingles with a bellcast profile and heavy half-timbering with roughcast render. The south major gable has a
decorative timber vent.
Figure 1.
South-east corner of the house, showing the return verandah on Tuscan columns.
(Context PL, 2012)
The house addresses its corner site with a return verandah at the south-east corner of
the house, supported by pairs of Tuscan-order columns which sit on brick piers. The
verandah floor retains its tessellated tile floor. The minor gable that sits above it on the
south side has decorative curved and notched rafter ends beneath a band of shingles.
The north end of the verandah transitions to the front entry porch which is entered via a
striking round brick arch with buttressing to it. The front door has a single leaf, with a
segmentally arched leadlight window at the top and a highlight above it. Instead of the
usual sidelight(s) to provide additional light to the entry hall, there is a leadlight window
beside it.
There is a wide variety of window forms throughout the house, though most are
casement windows with highlights filled with leadlights of long, diamond-shaped panes
overlaid with floral motifs. There are bow (curved bay) windows on the south and east
elevations, as well as a projecting canted bay window at the south-east corner beneath
the verandah, and a shallower one in the south major gable. The one on the east
elevation, beside the entrance, sits beneath its own gabled roof. Another is segmentally
arched, while there is also a bank of three sash windows in a box frame at the north end
of the east elevation - all with the same sort of leadlights. There is a small dormer window
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on the east side of the central gable, south end, which has three casements with
diamond leadlights. There is a second dormer, on the north side of the central gable,
which has a similar form, but simple sash windows, and appears to be a later - though
sympathetic - alteration, related to the conversion of the old billiard room into a bedroom.
Overall the building is beautifully detailed, clearly architect designed, and highly intact.
The only external alterations visible from the public domain are a very small, red-brick
addition to the west elevation (visible from Canterbury Road), and the later dormer. The
infilling of the recessed verandah and the installation of sliding doors to the north
elevation are not visible from the public domain.
The small brick structure at the back of the garden appears to be the garage noted on
1966 building permit plans. It has similar details to the house, particularly half-timbering
to the gable, and may be original or an early addition. The brick walls have been
overpainted.
The house at 27 Canterbury Road of 1918 is a relatively early example of an early atticstyle bungalow - in which the upper storey is contained within a high-pitched gabled roof
with projecting dormers - for metropolitan Melbourne. It is among the earliest identified
examples of this type in the City of Boroondara, which include 19 The Ridge, Canterbury
of 1916; 6 Christowel Street, Camberwell of 1918; 54 Berkeley Street, Hawthorn, of
1918-19 (HO446); 127 Winmallee Road, Balwyn, of 1919-20 (HO421), 4, 6 & 8 Grange
Avenue, Canterbury, of 1919, and 2 Grange Avenue of 1920-21 (all in proposed Grange
Avenue Precinct). (NB: Reportedly earlier examples of the style - 17 Threadneedle
Street, Balwyn (thought to be 1907) and 1 Threadneedle St (thought to be 1915) cited in
the 2006 Review of C* Grade Buildings in the Former City of Hawthorn (place citation for
54 Berkeley St), have since been found to be inappropriate comparisons. 17
Threadneedle St was, in fact, built in 1924, and 1 Threadneedle St is a single-storey (not
attic) bungalow.)
The style, first paired with Federation and Arts & Crafts details, then transitioning to
California Bungalow forms, was very popular with the middle classes at the end of the
'teens and early 1920s and many fine examples are seen in Boroondara's suburbs.
Arts & Crafts Bungalows were British in inspiration and often had high-pitched roofs
(often with an attic storey), and a deep masonry arch or square piers (sometimes
buttressed) to the porch. There was less emphasis on highly detailed ornamentation, and
more of bold forms and an interplay of natural textures (roughcast render was particularly
popular in contrast with smooth materials (render, brick, etc.)). Many Arts & Crafts
houses have distinctive battered chimneys (sides sloping inwards) finished in roughcast
render.
The detailing of 27 Canterbury Road exhibits features seen in late Federation houses,
such as slender Tuscan columns, floral leadlights with a curvilinear Art Nouveau
influence, the slender chimneys with brick and render detailing, the use of decorative
ridge and crest tiles to the roof, tuckpointed red face brick, and the incorporation of a
diagonal axis as expressed in the corner bay window beneath the verandah. It also has
features of the Arts & Crafts Bungalow, including the high-pitched roof (simpler in form
than the Federation form), the use of heavy masonry elements such as round arches,
square pillars and buttressing, as well as contrasting textural building materials.
It shares this stylistic pedigree, as well as a similar scale, architectural quality and
intactness with:
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x 33 Broadway, Camberwell of 1919-20 (Individually significant to HO159). Also a
red brick house with a band of rough-cast render atop the walls and a brick
moulding between them. It shares many similar details such as paired Tuscan
columns to the corner verandah which sits beneath a minor gable, a bay window
beneath the vernadah set on a diagonal angle, a massive round brick arch with
buttresses to the entrance porch, and a recessed balcony to the major gable.
While this house has only a single street frontage, so the massing of the major
and two minor gables are to the facade, there are enough similarities to suggest
it may have been designed by the same architect as 27 Canterbury Road. (Note
that the identity of the architect has not been determined.)
x 2 Grange Avenue, Canterbury of 1920-21 (Recommended as individually
significant to Grange Avenue Precinct, 2012). This house is also of face brick
with a band of roughcast render above (without the brick moulding between). It
was also designed to be seen from two street frontages and has a return
verandah in response, but one with slender tapered pylons - showing a
California Bungalow influence. Details similar to 27 Canterbury Road include the
use of transverse gable roof, and a major 'floating' gable to the facade above a
hipped-roof breakfront. A bow window sits below, with its own gabled roof.
Beside it is a round brick arch with buttresses to either side.
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The house at 27 Canterbury Road illustrates the subdivision in the early 20th-century of
the large 19th-century estates in this area of Camberwell, to allow for the development of
middle-class housing.
The house at 27 Canterbury Road is one of the first group of attic bungalows to be
constructed in the municipality. It was a style that became very popular in the area in the
early 1920s.
Not applicable.
The house at 27 Canterbury Road is a fine and well-preserved example of an attic
bungalow which exhibits an Arts & Crafts form and materials, with a remaining
Federation influence on the details.
significance).
The house at 27 Canterbury Road is a large and architecturally successful attic-style
bungalow. Its massing skilfully responds to its corner site with a progression of major and
minor gables, one sheltering a return verandah and a bay window on a diagonal axis.
The houses has the simplified, high-gabled roof form of the Arts & Crafts attic bungalow,
and an Arts & Crafts palette of 'honest' materials with contrasting textures, including red
brick, roughcast render, and timber shingles. The remaining influence of the Federation
style is seen in the use of Tuscan verandah columns, floral leadlight windows, chimneys
and roof finials. One of the most striking elements of the design is the impressive round
brick arch at the entrance. Overall the materials and detailing are of very high quality.
The house is enhanced by the retention of an early or original outbuilding.
Not applicable.
significance).
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Note applicable.
Not applicable.
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The house at 27 Canterbury Road, Camberwell, built for Ernest A Goss, law clerk, and
his wife Ethel in 1918 by builder Mr Stephenson. It is an Arts & Crafts attic bungalow with
a Federation influence to the details. The house is significant to the extent of its original
fabric, with later additions and alterations of no significance.
The outbuilding at the rear, believed to be the former garage, with brick walls and halftimbering to the gable, is contributory.
The house is of local architectural and aesthetic significance to the City of Boroondara.
The house at 27 Canterbury Road is a large and architecturally successful attic-style
bungalow. Within the City of Boroondara it is one of the first examples of this type to be
built; a house type that became very popular by the early 1920s. Its massing skilfully
responds to its corner site with a progression of major and minor gables, one sheltering a
return verandah and a bay window on a diagonal axis. The house has the simplified,
high-gabled roof form of the Arts & Crafts attic bungalow, and an Arts & Crafts palette of
'honest' materials with contrasting textures, including red brick, roughcast render, and
timber shingles. The remaining influence of the Federation style is seen in the use of
Tuscan verandah columns, floral leadlight windows, chimneys and roof finials. One of the
most striking elements of the design is the impressive round brick arch at the entrance.
Overall the materials and detailing are of very high quality, particularly the moulded brick
stringcourse, and the multiplicity of cladding materials and window types. (Criteria D and
E)
Planning Scheme as an Individually Significant place.
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
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No
No
Identified By
Context Pty Ltd
References
Boroondara City Council building files, 27 Canterbury Road.
Camberwell City Building Register, Permit No. 3813, 4 Dec. 1917.
Lovell Chen, Review of B-Graded Buildings in Kew, Camberwell and Hawthorn, Vol. 3
Data Sheets for Camberwell and Hawthorn, prepared for the City of Boroondara, 2005-9.
Land Victoria (LV), Certificates of Title, as cited above.
Former City of Camberwell rate books (RB), accessed at PROV, VPRS 5903/P0/Unit 10
(1917-18), North Ward, entry 14; Unit 11 (1918-19), North Ward, entry 14).
The Argus.
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Former Murradoc or Quitchambo
Prepared by: Context Pty Ltd
Address: 13-15 Irilbarra Road, Canterbury
Name: Murradoc (former), Quitchambo (former)
Survey Date: 8 Nov. 2012
Architect:
Builder: Lewis U Rowden
Historical Context
Murradoc is located in a part of Canterbury that was subdivided in the late 19th and early
20th century for large mansions on extensive grounds, such as Glenlea at 49 Mangarra
Road (whose ground extended to Mont Albert Road, modest houses on small blocks, as
well as substantial villas on generous blocks, such as Murradoc and Wiora (at 21 Irilbarra
Road).
When first surveyed, the present Irilbarra Road was called Mangarra Road, and the
present Mangarra Road did not yet exist (MMBW 1905).
History
Louis William Rowden, a builder of Glenferrie, purchased the site of the house at 15
Irilbarra Road (Lot 84, PS1269) in May 1889 (LV: 2155 F962), and constructed the eightroomed brick house form himself shortly afterward. Butler (1991) notes that he purchased
the adjoining Lot 85 (13 Irilbarra Road) at the same time, as recorded by the rate books.
Rowden was a civil engineer with the building firm Waring & Rowden of La Trobe Street,
first established by William Waring, which became a successful firm by the late
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nineteenth century, until it ceased to operate around 1910 (Age 4 Oct 1986; Butler 1991).
Examples of their work include the Maffra Sugar Beet Factory of 1897 (demolished)
(Maffra Spectator, 22/04/1897:3), shops and dwellings at 166-186 Little Collins Street,
Melbourne, of 1891 (Butler & Assoc, 2011), and sewerage reticulation work in Fitzroy and
Richmond (Argus, 17/01/1902:6; 18/07/1902:7).
The house was accompanied by large brick stables and a horse paddock (MMBW 1905).
By 1905, it was called 'Murradoc'. It is suggested to have been the first substantial home
built in the area (Nunawading Gazette 19 Apr 1989; Age 4 Oct 1986).
Rowden sold the property to Lewis Hatherley, builder of Hawthorn, in 1892. Rowden's
wife, Mary Ann Rowden, then bought back the property in 1905. By then she and
Rowden resided in Adelaide, where the breakwater was under construction (LV: 2155
F962). Butler's (1991) rate book research indicates that Rowden extended the house in
1901, so the sale to Hatherley may have been a formality.
Reportedly, Rowden’s fortunes took a turn for the worse after the breakwater constructed
by Waring & Rowden for Adelaide’s Outer Harbour collapsed in a storm, precipitating
Rowden’s sale of his house (Age 4 Oct 1986). It is not known precisely when (or if) the
breakwater failed, though the contract was awarded in 1902 and dredging was underway
in mid-1903 (Albany Advertiser 6 Dec 1902:3; Argus 8 Jul 1903:5). The breakwater was
officially opened on 16 January 1908 (Advertiser 15 Jan 1908:7), and Mary Ann Rowden
did sell the house shortly after in April 1908. However, no press articles about the
collapse of the breakwater could be located, and in November 1910 the South Australian
Premier was praising the Outer Harbour as ‘splendid’ and a ‘show place’ (Register 5 Nov
1910:5).
The purchaser in 1908 was Edith Langford, who then sold it to Winifred Margaret Russell
in 1911. Russell was recorded as already residing at Murradoc at the time of purchase
(LV: V2115 F962). Russell died the following year, and the property remained with the
Perpetual Executors and Trustees Association of Australia until 1947, though there were
other joint owners at times (William Rankin, John Clarke, George Shaw) (LV: V3620
F808).
Butler's (1991) rate book research indicates that Mrs WJ Daly occupied the house 'from
early this [20th] century and on into the 1920's'. She was certainly there from at least
1919, when her son's marriage was announced (Sydney Morning Herald 15 Jul 1919:8).
Mrs W J Daly (Florence) was the daughter of Gustave Beckx, the first Belgian Consul in
Victoria (Argus 3 Aug 1946:11; 20). She was the widow of William John Eyre Daly, and
reportedly moved to Murradoc due to reduced circumstances after her wealthy husband
died (Free Press 23 Sep 1966). It appears she renamed the property after William Daly's
mansion in Elsternwick, Quitchambo (Argus 7 Jan 1887:8), as it is mentioned by this
name in 1919 (Sydney Morning Herald 15 Jul 1919:8).
Mrs WJ Daly was awarded the Gold Palm of the Order of the Crown of Belgium from
King Albert in recognition of her many services in war and peace for Belgium. The Order
was the first one given to a Victorian (Mirror 30 Jun 1920:2; Daily News 17 Jul 1928:2).
Later sources claim that she took over the role of Belgian Consul after the death of her
father (Free Press 23 Sep 1966), but this could not be confirmed. It is also said that the
Oak tree behind the house was planted by her son, Colonel Clarence Daly of the First
AIF, before he left for World War I, but did not return.
Reportedly, the Daly family spotted incoming ships with a telescope from a look-out: a flat
section of roof surrounded by a cast-iron railing reached by an internal staircase (Age 4
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Oct 1986). A similar platform and balustrade is seen at Chalgrove, 10 Trafalgar Road,
Camberwell (HO159).
After their mother's death in 1946 (Argus 3 Aug 1946:11), the Daly children (Eleanor,
Anastasia and Gustave) purchased the property and resided there until their deaths.
Gustave was the last to go, in 1962 (LV: V7071 F143).
The new owners sold the adjacent horse paddock (now 11 Irilbarra Road) after the
Council instructed that the horse's 'packing case stables' would have to be sewered (Free
Press 23 Sep 1966). The brick stables, shown on the 1905 MMBW plan, were retained
together with the house, and had been converted to a garage and wine cellar (Age 4 Oct
1986; Free Press 23 Sep 1966). By 1989, the stables had been converted into a billiard
room with a fireplace, sauna, bathroom and spa (Nunawading Gazette 19 Apr 1989).
In 1966 the interior still featured the original Kauri and parquet floors, large folding doors,
blackwood panelling in and gas-light fittings in the front room (Free Press 23 Sep 1966).
In 1989 the house was advertised for sale, containing four bedrooms, three bathrooms,
an entertaining-leisure area and study. Tessellated tiles on the verandah floor, cast-iron
lace details and leadlight surrounds remained. Additions included a kitchen and family
room to the rear of the house, stylistically matching the original house (Nunawading
Gazette 19 Apr 1989).
The house is a double-fronted Victorian Italianate single-storey house with an M-hip slate
roof and a short tower on the south side of the house. It is block-fronted with a
symmetrical facade of a central doorway - replete with richly coloured and hand-painted
leadlight sidelights and highlights and a six-panelled door with patera motifs - flanked by
two arched windows on either side.
The render finish to the walls is richly finished with incised geometric patterns to the ruled
render walls, quoins to the corners, moulded architraves and acanthus-leaf capitals to the
arched windows and vermiculated window sills on corbels. The cornice is also articulated
with paired brackets, paterae and cricket-bat mouldings in cast-concrete, while the tower
has a cast-concrete balustrade of interlocking circles, and retains cast-concrete urns at
the corners. On the east face of the tower there is a niche which currently holds a statue
of Queen Victoria.
The roof retains its slate roof with bands of triangular purple slates along the centre.
(Note: the roofing slates may have been renewed, but are in keeping with 19th-century
design.) Two chimneys are arranged symmetrically near the front of the house. They are
rendered and are particularly ornate for their period, with not only a rendered cornice, but
also fielded panels to the shafts and a fluted frieze.
The house retains its original return verandah, including a tessellated tile floor with
bluestone edging and steps, a slightly concave corrugated-iron roof, cast-iron Corinthian
columns (in pairs to frame the doorway and at the corners), and a cast-iron frieze with
integral brackets in an unusual floral pattern.
While there have been alterations and an extension to the rear of the house, these are
generally not visible from the street. Judging from the current roof plan, the 1901 addition
made by Rowden appears to be the high hipped-roof wing at the north-west corner (rear)
of the house. The flat look-out section of the roof appears to exist, but the balustrade is
gone. Otherwise the house, as viewed from the public domain, is highly intact and very
well maintained.
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There is a mature oak tree in the rear yard, which reportedly was planted by a member of
the Daly family at the opening of World War I. The Canary Island Palm that stands in the
front garden is likely of a similar age, as this was a very popular specimen planting during
the Edwardian and Interwar periods.
The former stables stand at the rear of 13 Irilbarra Road, behind the modern tennis
courts. The east elevation has been altered to resemble a neo-classical folly. It is not
known how much of the building's original form and fabric survive, but the footprint
corresponds with that of 1905 (MMBW 1905).
Murradoc compares favourably in its architectural expression and intactness to other
Italianate villas of the late 1880s, and is distinguished by the high level of ornamentation
and quality of its render work. Two of the most similar in form are:
x
x
House, 33 Alma Road, Camberwell (HO367) of 1888, a double-fronted rendered
Italianate house with a canted bay and a two-storey tower. The arched windows
to the canted bay have similar Acanthus-leaf cornices to Murradoc, otherwise the
detailing of the render is simpler. It is intact and retains its slate roof, rendered
chimneys and verandah detailing.
The Knoll, 50 Wandsworth Road, Surrey Hills (HO415) of 1888-9, a doublefronted rendered Italianate house with a canted bay and return verandah. The
arched windows have simple capital mouldings, and the detailing of the render is
generally simpler than at Murradoc. It retains its slate roof and rendered
chimneys (also simpler than at Murradoc), but the main elevation is now
obscured from the street by later subdivision.
The stables at Morooduc, while altered, demonstrate a once common type of outbuilding
for 19th-century houses of medium and large size, when most people of means retained
their own horses for transport.
Not applicable.
Not applicable.
Murradoc is a typical symmetrical Italianate villa in regard to its hipped roof, ruled render
walls, arched windows, return verandah, bracketed cornice, and rendered chimneys. A
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balustrade tower was also a desirable feature of this style, but was usually taller than a
single storey.
significance).
Murradoc is distinguished by the high-quality and extensive cement-render
ornamentation which includes incised stencil decorations, quoining, vermiculated window
sills and acanthus-leaf capitals, fielded panels and fluting to the chimneys, and
interlocking circle balustrade and urns to the tower. Also by its very intact verandah with
paired cast-iron posts and an unusual cast-iron frieze pattern.
Not applicable.
significance).
Not applicable.
Not applicable.
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The former Murradoc (later Quitchambo) at 13-15 Irilbarra Road, Canterbury. It was
constructed in 1889 by builder Louis William Rowden as his home, though he sold it in
1892. Rowden was a partner in the Melbourne building firm of Waring & Rowden, best
known for their work on the Adelaide Outer Harbour Breakwater in the first decade of the
20th century, as well as construction of buildings and sewerage works in Melbourne and
other parts of Victoria.
The Daly family occupied the house, renaming it Quitchambo, from the interwar period
until the 1960s. It is believed they planted the Canary Island Palm in front of the house
and the mature Oak behind the house.
The house is an Italianate-style villa with a richly detailed cement render finish and castiron verandah. The house is significant to the extent of its 1889 fabric as well as the 1901
addition made by Rowden.
The former brick stables are also contributory to the place.
The former Murradoc is of local architectural, aesthetic and historical significance to the
City of Boroondara.
The former Murradoc is of architectural and aesthetic significance as a fine and externally
intact example of a symmetrical rendered Victorian Italianate villa. It is distinguished by
the high-quality and extensive cement-render ornamentation which includes incised
stencil decorations, quoining, vermiculated window sills and acanthus-leaf capitals,
fielded panels and fluting to the chimneys, and interlocking circle balustrade and urns to
the tower. Also by its very intact verandah with paired cast-iron posts and an unusual
cast-iron frieze pattern. (Criteria D & E)
The former stables are of historical significance for demonstrating a once common type
of outbuilding for 19th-century houses of medium and large size, when most people of
means retained their own horses for transport. (Criterion A)
Tree Controls
Incorporated Plan
No
No
No
No
No
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notice and review?
No
No
No
Identified By
G Butler, Camberwell Conservation Study, 1991.
References
Butler, Graeme (1991), 'Camberwell Conservation Study', Murradoc place citation.
Butler, Graeme & Assoc. (2011), 'Central City (Hoddle Grid) Heritage Review' for the City
of Melbourne.
Hermes citation, as cited above.
Free Press, viewed in the National Trust file No. B1331.
Maffra Spectator.
MMBW: Melbourne and Metropolitan Board of Works Detail Plan No. 1992, 1905.
National Trust (NT) file No. B1331.
Nunawading Gazette, viewed in the National Trust file No. B1331.
The Advertiser (Adelaide).
The Age, viewed in the National Trust file No. B1331.
The Albany Advertiser.
The Argus.
The Daily News [Perth, WA].
The Mirror [Perth, WA].
The Register (Adelaide).
The Sydney Morning Herald.
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Former Canterbury Brickworks Housing
Address: 52-58 Rochester Road, Canterbury
Name: Canterbury Brickworks housing, former
Architect:
Builder:
Historical Context
Brickworks
The following is an extract from the City of Boroondara Thematic Environmental History
(Built Heritage 2012:87-8):
Notwithstanding Hawthorn's dominance of the local industry, brickmaking also
emerged in the eastern half of the study area in the later nineteenth century. Richard
Werrett, an early Balwyn resident, was reported to be making bricks in 1881, when
he was chastised for “creating a widespread nuisance and damaging property by
burning bricks”. The 1880s residential boom spurred several other brickmaking
ventures in this vicinity. In 1885, Albert Mills established clay pits and brickworks on
land in Robinson Road, Surrey Hills, on what later became the site of the drill hall.
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Two others brickworks operated alongside claypits near Rochester Road,
Canterbury. The first of these, the Canterbury Brickworks, was established in 1883
by local pioneer Alfred Golding and subsequently taken over by W C Tyler [sic], who
built a row of cottages on Rochester Road for his employees. In 1891, Edward
Cornish acquired the adjacent site and opened a rival venture, the Mont Albert
Brickworks. But, as Blainey adds:
The shire's two brickworks employed over 40 men in 1891, but they were small
compared to the huge brickyards of the northern suburbs, and when the industry
crumbled in the Depression, Boroondara's brickworks were amongst the first to fail.
Tyler's [sic] brickworks succumbed to the 1890s Depression, while Cornish's folded
after his own death in 1896.
... the claypits near Rochester Road, Canterbury, were also shown on the [1907]
MMBW map, with adjacent buildings that were specially marked as "old brick works
- disused". The site was later reclaimed; today it is partly occupied by housing and
partly by the John August Reserve, on the north side of Mont Albert Road.
Housing for the working class
Boroondara is dominated by middle and upper class housing, and has little association
with housing for the working classes, excluding the humble houses of the early
settlement period. Where evident, working-class housing concentrated around industrial
sites such as quarries, clay-pits and brickworks, particularly in the cheaper land of
Hawthorn, where small rows of cottages were located in close vicinity. While most
evident in Hawthorn, these houses were rarely built in Kew and the former City of
Camberwell. One notable exception to this is the row of houses at 52-58 Rochester
Road, Canterbury, built for the nearby brickworks (Built Heritage 2012:143-4).
History
In April 1879, Ernest Carter, Melbourne dentist, purchased 5,120 acres in the Parish of
Bundoora and Nunawading. He subdivided this land between 1882 and 1907, selling the
land that corresponds to what is now 52-58 Rochester Road, to Mary Ann Tayler, wife of
William Charles Tayler, accountant of 'Claremont Park', East Camberwell, in August 1889
(LV: V2175/F946).
Around 1889 Tayler purchased the Canterbury Brickworks from Alfred Golding, who had
established them in 1883. The brickworks were located on the north side of Mont Albert
Road, where the John August Reserve is located today (Built Heritage, 2012: 88).
In 1889, William Tayler is rated for land (lot 18, section 3) on Mont Albert Road, with a
Net Annual Value (NAV) of £20 (about 10% of their total value). In 1890, W C Tayler,
now known as a brickmaker, was rated for eight brick houses (located on lot 18) on
Rochester Road, with an NAV of £15 each. At this date, six of the houses are occupied
(RB). This indicates that the houses at 52-58 Rochester Road were built by Tayler in
1889. It is suggested that the houses were built by Tayler for employees of his brickworks
(Built Heritage 2012:87). This is confirmed by the rate books of the 1890s, which note
that that the occupants were often bricklayers, brickmakers and labourers. (Note that the
Sands & McDougall street directories only begin to list the houses from 1896, which
appears to be an oversight.)
J McCormick, labourer, is listed in the rate books as the one constant occupant between
1890 and 1897 (RB). The rate books confirm the almost annual change in occupancy of
each house, suggesting rapid turnover of staff at Tayler's brickworks. Between 1889 and
1896, occupancy of the eight houses varied between 1 and all 8 houses occupied (RB).
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In 1892, the Argus (8 Nov 1892:5) reported that William Charles Tayler was insolvent as
a result of losses in trade in the brick-making industry (LV: V2175/F946). In the 1891-2
rate books Tayler's name is crossed out and in the 1892-3 listing, the eight houses
(seven of which are unoccupied) on Rochester Road are owned by what appears to read
'Morgan, agent'. At this date, W C Tayler is still the rated the owner of 'Stabling' on part of
lot 18, Mount Albert Road.
By 1896, the St James Building Society is rated for the eight brick houses, three of which
are occupied by labourers; McCormick continues to occupy the one house. In 1897, eight
brick houses are listed (still under the ownership of St James Building Society), however
the four new occupants are listed against two houses each, suggesting that at this date
(1897-8), the eight houses were physically altered to become four houses. This is
confirmed the following year when only four houses are listed in the 1898-9 rate books.
At this date a new owner, Rowell is listed. The occupations of the occupants are not
noted in 1897-99 (RB).
This accords with the land title, which indicates that in July 1897, Thomas A Rowell,
gentleman of Surrey Hills, became the owner of 52-58 Rochester Road, purchasing the
houses from the St James Building Society (LV: V2175/F946). This suggests that the
building society held the title of the houses after Tayler's insolvency. The rate books
indicate that brickworkers continued to occupy some of the houses until 1897 (RB). This
change of ownership in 1897 may suggest that Tayler's brickworks closed at this date.
The 1906 MMBW map shows four identical terrace houses, each with a verandah
running the length of the facade. The name of each house was recorded on the plan: 52
was called 'Thelma', 54 was 'Cosimir', 56 was 'Edris', and 58 was 'Zara'. Each house had
a narrower rear wing, two small outbuildings and an outdoor water closet at the rear
boundary (MMBW 1906: Detail Plan No.2212).
From 1923, Rowell began to sell the four houses into separate ownership. Number 52
was sold to Emma Barr in February 1937; number 54 to Rose L Shaw in November
1924; number 56 to Mary A Haig in November 1923; and number 58 to William S
Webster in June 1924 (LV V1094/F730; V2175/F946).
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The houses at 52-58 Rochester Road, Canterbury, are a terrace of single-storey brick
houses with transverse gable roofs. They are set back behind modest front yards. The
walls are of tuckpointed polychrome brick ('Hawthorn', red and cream bricks and cream
cornice brackets), which presumably display the output of Tayler's brickworks. The
chimneys, which stand at the apex of the gable, in line with party walls between the
houses, are also of polychrome brick.
The houses have convex verandah roofs set between brick wing walls with chamfered
verandah beams. The roof of No 52 is of slate with a scalloped band at the middle, while
the others are clad in corrugated metal.
There are a number of visual clues that indicate that the four houses were originally eight
in number. Each of the current houses has a party wall at the centre of the roof, which
would have divided the two tiny cottages. Only one of the original doors has been
retained for each existing house, while the other one was converted with care to a blind
arch, leaving the red and cream brick flat arch of the former door intact just below the
verandah. Nos 52, 56 and 58 retain their original four-panel doors with cricket-bat
mouldings (the door at No 54 was not visible). On either side of the central door and blind
arch are pairs of very narrow double-hung windows.
External alterations to the houses, apart from their c1897 conversion from eight to four
units, include the following. No 52 has had its front verandah extended around the south
side with a return. At No 54 the blind arch where the second entry once was has been
filled in during recent tuckpointing works. The brickwork of No 58 has been damaged by
sandblasting, the convex verandah roof has been replaced with a straight one, the
verandah beam replaced, and the timber front windows replaced with identical. And all of
the houses appear to have reproduction timber verandah posts, some have reproduction
cast-iron lace friezes, and most have recessive rear additions.
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As noted in the contextual history, working-class housing was relatively rare in the City of
Boroondara. They were particularly rare in the area of the former City of Camberwell, and
the terrace on Rochester Road is cited as a 'notable exception' (Built Heritage,
2010:144).
Working-class housing was concentrated in the low-lying areas of Hawthorn, and
otherwise located adjacent to industrial sites, particularly quarries, clay-pits and
brickworks, for example (Built Heritage, 2012: 144):
-
The western side of Foley Street, Kew, which ran along the rear of a clay pit.
These houses, at Nos 7-11 and 25-27 Foley Street, as seen on the 1903 MMBW
Detail Plan No 1296, are single-fronted timber houses with hip roofs in varying
degrees of intactness. They are not particularly identifiable as a thematically
linked group, particularly as houses in the middle have been demolished to
provide access to Foley Reserve (the former claypit).
-
The eastern end of Hill Street, Hawthorn, adjacent to a quarry (part of HO220).
These houses, at Nos 37 to 49, as seen on the 1901 MMBW Detail Plan No
1081, back onto the former claypit (now a reserve). They are identical singlefronted timber houses with concave front verandahs and corbelled brick
chimneys on their hipped roofs.
-
The south side of Melville Street, backing onto the excavations for the Hawthorn
Main Drain. These houses, at Nos 6 to 48, as seen on the 1901 MMBW Detail
Plan No 1076, are all single-fronted timber houses. They appear to have been
built in several groups of identical houses, most of them freestanding and a few
are duplexes.
-
Roseberry Street, Hawthorn East and surrounding streets, adjoining the
Hawthorn Brickworks (now Fritsch Holzer Park). These are a mix of single-fronted
and double-fronted Victorian timber houses, some of which may have been built
in groups.
In comparison, the Canterbury Brickworks houses at 52-58 Rochester Road differ in that
they are brick houses built as a terrace - which is a compact form more commonly seen
in the inner suburbs. When first constructed, they would have also stood out because of
their exceptionally small size, even in comparison to other working-class housing in the
City of Boroondara.
The row of houses at 52-58 Rochester Road illustrates the establishment of the brickmaking industry in the Camberwell area, which was secondary to the massive industry in
the Hawthorn area. The row demonstrates the modest lodgings offered to workers in this
industry, particularly in the original size of the houses, which is still legible thanks to the
redundant party walls and door lintels above the blind arches. It also demonstrates the
practice of establishing workers' housing immediately adjacent to their work site, in the
days before extensive public or private transportation.
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The row is a rare example of working-class housing in this part of Boroondara. While rare
throughout the city, apart from pockets adjacent to industrial sites and in the low-lying
areas of Hawthorn, the eastern part (the former City of Camberwell) has had a
particularly pronounced middle-class character since its establishment. The terrace form
of housing is also rare in the middle-ring suburbs.
Not applicable.
The houses are typical of inner-suburban late-Victorian housing, with a terrace form with
front verandahs between wing walls and narrower rear wings. They also employ
decorative polychrome brickwork which was popular from the 1870s to the early 1890s,
and could be seen as an advertisement for the wares of the adjacent Canterbury
Brickworks.
significance).
Not applicable.
Not applicable
significance).
Not applicable
The houses are associated with brickworks-owner WC Tayler, and with the brickmakers
who lived in them.
The row of terrace houses at 52-58 Rochester Road, Canterbury, to the extent of their
19th-century fabric. What are now four houses were constructed in 1889 as eight tiny
units for workers at the Canterbury Brickworks, by the owner of the brickworks, William
Charles Tayler. The brickworks failed during the 1890s depression, and were converted
to four private dwellings by 1898.
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The houses are constructed of tuckpointed polychrome brick, with a transverse gable
roof and polychrome corbelled chimneys. They have convex front verandahs and
symmetrical block fronts. A panelled door and a blind arch (where the second front door
was originally) are at the centre of each facade, with a pair of narrow double-hung
windows on either side.
Modern rear additions to the houses are not significant.
The terrace houses are of local historic and architectural significance to the City of
Boroondara.
The terrace houses are of historic significance for illustrating the development of the
brick-making industry in the eastern part of the municipality, which has been
overshadowed by the Hawthorn brick industry. The row demonstrates the modest
lodgings offered to workers in this industry, particularly in the original size of the houses,
which is still legible thanks to the redundant party walls and door lintels above the blind
arches. It also demonstrates the practice of establishing workers' housing immediately
adjacent to their work site, in the days before extensive public or private transportation.
The houses are also a rare example of working-class housing in this part of Boroondara.
While rare throughout the city, apart from pockets adjacent to industrial sites and in the
low-lying areas of Hawthorn, the eastern part (the former City of Camberwell) has had a
particularly pronounced middle-class character since its establishment. (Criteria A & B)
The terrace houses are of architectural significance as a representative example of late
19th-century terrace housing that, while common in Melbourne's inner suburbs, is rare in
Boroondara. The houses also employ decorative polychrome brickwork which was
popular from the 1870s to the early 1890s, and could be seen as an advertisement for
the wares of the adjacent Canterbury Brickworks. (Criterion D)
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
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City of Boroondara
14/11/13
________________________________________________________________________
No
Identified By
Built Heritage, Boroondara Thematic History, 2012.
References
City of Boroondara Rate Books (RB), microfilm accessed at PROV, VPRS 5903/P0/
(North Riding): Unit 30 (1889-90), entry 684; Unit 33 (1890-91), entries 70-77; Unit 36
(1891-2), entries 1106-1113; Unit 39 (1892-3), entries 941-949; Unit 42 (1893-4), entries
792-800; Unit 51 (1896-7), entries 585-592; Unit 54 (1897-8), entries 552-559; Unit 57
(1898-9), entries 562-565.
MMBW plan, as cited above, viewed online on the State Library of Victoria catalogue.
Sands & McDougall directories, viewed at the State Library of Victoria.
The Argus.
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DEEPDENE POST OFFICE, FORMER
Address: 165 Whitehorse Road, Deepdene
Name: Deepdene Post Office, former
Architect:
Builder:
Historical Context
Post offices
The creation of the new Commonwealth Government in 1901 resulted in the
establishment of a federal Postmaster General's Department to oversee the management
and expansion of postal and telegraphic services. At this date there were over 7,000 post
offices in Australia and more than 6,000 staff serving purely in a non-official capacity as a
postmaster and postmistress (Hunter 2000:60-61; Built Heritage 2012:73).
Following Federation, the Commonwealth Department of Works and Railways
progressively assumed controls of the design of post offices (after the Commonwealth
Post and Telegraph Act was passed in June 1902), but it appears that the precursors of
the early standard designs were developed by the New South Wales' Government
Architect's Office and often built throughout Australia. A shortage in funds and resources
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meant that the maintenance of existing buildings and the construction of new buildings
remained the immediate responsibility of State public works departments (in some states
this continued until the 1920s) (Warmington 1990).
'Provisional' post offices and non-official post offices first opened in the area in the 1850s.
It was not until 1871-2 that the first purpose-built post office was opened in Hawthorn.
Prior to that a draper ran the Hawthorn Post Office agency from his shop. Postal services
were inadequate within the City of Boroondara at the time of Federation and many new
post offices opened here and across Australia between 1900 and 1930. During this
period, post offices were established in Hawthorn (1908), Canterbury (1908), Glenferrie
(1913), Deepdene (1913), Surrey Hills (1915) and Kew East (1924). In the 1950s, there
was a steep increase in the number of post office agencies, or 'non-official' post offices,
in the City that operated in conjunction with other businesses, such as a milk bar,
pharmacy or general store (Built Heritage 2012:72-3). In the late 1950s, the number of
purpose-built post offices constructed in the area increased again (Built Heritage
2012:73).
History
The property that is now 165 Whitehorse Road, Deepdene, was originally part of Elgar's
Crown Special Survey (LV: V2994/F773). In February 1885, Edward N Brown, a
Melbourne accountant, purchased just over 19 acres on Whitehorse Road (called
Cotham Road at this date) and quickly proceeded to subdivide, selling land that included
165 Whitehorse Road to David Gardner, a commercial traveller, in June 1885 (LV:
V732/F210; V1711/F140). In June 1904, the Bank of Victoria became the owner of the
land that included the current numbers 159-167 Whitehorse Road.
Ethel Mary Davenport purchased the block of land that is now 165 and part of 163
Whitehorse Road in December 1913 (LV: V2994/773). The 1915 street directory notes a
'house being built' in this location, then numbered 83 Whitehorse Road (NB: Construction
would have been noted in 1914 when next year's directory was under preparation). The
following year, 'Deepdene Post Office and confectionery', is recorded, run by Mrs E M
Davenport, post mistress. (S&Mc 1915, 1916, listed under Balwyn). From these records it
appears that the post office shop and adjacent residence were constructed at the same
time, in 1914-15. Certainly the timber rear wing of the shop (number 165) and the timber
residence (which was at number 163) were constructed at the same time, as
demonstrated by the remnant roof form.
Other sources indicate that a Deepdene Post Office first opened on 14 July 1913.
Considering the listings in the street directories, this may mean that it first operated from
another location before moving to what is now 165 Whitehorse Road (Watson et al 1992:
Vol 2, D15; Post Office List, accessed January 2013; Built Heritage 2012:73).
The opening of the new Deepdene Post Office corresponds with the emergence of a new
commercial centre on Whitehorse Road, made possible by the replacement of the horsedrawn trams that ran along this road with electric tram lines. A police station opened in
1920 (Built Heritage 2012: 98).
As the Deepdene Post Office was privately owned when constructed and operated, and
its design does not suggest any involvement of the Commonwealth Architect or state
Public Works Department, it is clear that this is an example of a post office agency, as
opposed to the 'official' ones that were owned and built by the Commonwealth.
From around 1925, 83 (now 165) Whitehorse Road was occupied by both Mrs E M
Davenport, post mistress of Deepdene Post Office, and A J Davenport, grocer and
stationer. Arthur J Davenport is listed as residing next door, at number 81 (now 163), until
1929 (S&Mc). This corresponds to a map of 1927 which shows a brick shop at the
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frontage, which is square in plan and has a verandah over the footpath. Behind the brick
section is a narrower timber wing, and abutting this wing on the west side is a timber
residence with a front verandah, set well back from the street (now replaced by the shop
at number 163) (MMBW, Detail Plan 2955, 1927).
From 1929 to 1938, the post office was not listed at number 83 (now 165), only A J
Davenport, grocer and stationer. It is not known whether the post office service was really
relocated or discontinued during this period or simply overlooked in the street directory.
From 1930, the numbering system changed and the post office (with the residence) was
listed at number 163-165 Whitehorse Road (S&Mc).
In 1939, the shop appears to have continued as a post office agency, as post office is
listed again as run by E G Davenport, grocer, at number 165. Mrs Davenport continued
to operate the post office until c1960 when C A Whittenback, grocers, is listed at number
165 (S&Mc). In 1970, number 165 was solely occupied by the post office. It is not known
at what date the building ceased to serve as a post office, but the current Deepdene Post
Office is located nearby in a two-storey interwar shop at 69 Whitehorse Road.
Subsequent owners of the building were John (caravan dealer) and Jean Gair, of 157
Whitehorse Road, from November 1967 and D I Carmichael Pty Ltd from August 1981.
The boundary matched the current extent from 1967 (LV: V8601/772; V2994/F773).
The former Deepdene Post Office, at 165 Whitehorse Road, is located on the north side
of the road, between Leonard and Terry streets. It stands between two single-storey
shops from the post-war era.
The former post office is a single-storey building with no setback from the footpath. There
is a narrow gap between it and the shop at number 177 to the east, while the shop to the
west (number 163) abuts it.
The building is constructed of red brick, with smooth render to the facade. In its style it is
Federation Freestyle (also called Edwardian Baroque). The roof is hipped, with an
irregular plan as the brick shop at the front is wider than the timber rear wing. The hip to
the timber wing was continuous with the roof of the residence that once stood at number
163. Following the demolition of this residence, a parapet was constructed to enclose the
roof space of the shop roof. The roof is clad in recent corrugated metal. A red-brick
chimney on the ridgeline is visible in oblique views from the west. It is domestic in form,
with a decorative band set below corbelling, and above the corbels is a raked band
finished with roughcast render. The chimney has two terracotta pots.
The shopfront is set slightly inwards from the structural piers on either side. There is a
recessed entry at the centre. The stallboards are battered (slope inward) and are clad in
rectangular tiles with a terracotta vent at the base of the west stallboard. The shop
windows are framed in a copper-coloured metal, branded with the name of the
shopfitters: Duff. The door is timber framed with a large glazed panel at the top.
The verandah mimics the cantilevered awnings of the interwar and post-war period,
though it is in fact supported by metal rods secured to the parapet.
The parapet is the most striking feature of the building, with two undulating curves which
meet in the middle and are mirrored on the bottom half of the parapet in raised render.
The parapet is contained between short piers with pyramidal caps. The top edge of the
parapet and the tops of the piers are defined with cement mouldings. Just below each
pier cap is an applied wrought-iron plate with scrolled ends, similar to a traditional hinge.
Two of the metal rods supporting the verandah roof are secured to these metal plates.
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The transition from the rendered parapet to the facebrick side walls is neatly resolved by
the use of render quoins at the corner.
The shop appears to be in very good condition, when viewed from the street. Alterations
include the overpainting of the tiled stallboard, and of the bricks to the side walls. The
ceiling of the recessed entry has been dropped, partially concealing the highlight to the
door. This suggests that the shopfront originally had highlight windows across its length
which have since been covered over (or removed). The verandah appears to have been
reclad. It may even be an early replacement of a posted verandah (unclear from the
MMBW plan), as suggested by the asymmetrical arrangement of the supporting metal
rods. The V-board sign on top of the verandah is intrusive as it conceals much of the
detail of the parapet. Views on Google Maps show a series of later extensions and sheds
at the rear of the 1927 extent of the building.
The former Deepdene Post Office can be compared to other post offices in the City of
Boroondara, as well as other Federation Freestyle shops, both modest and high-style.
Early post offices in the municipality include:
x
x
x
Hawthorn PO, 1909, 378 Burwood Road (proposed for individual HO by
Amendment C153). A grand, two-storey brick building in a free interpretation of
the Romanesque, designed by the Victorian Public Works Department for the
Commonwealth. Served as a post office until 1998.
Canterbury PO, 1908, 206 Canterbury Road (Individually significant to HO145). A
two-storey, Baroque Revival corner building with an imposing giant-order
colonnade. Designed by the Commonwealth Architect.
Surrey Hills PO, 1915, 609 Canterbury Road (demolished). An imposing red-brick
building designed for the Commonwealth.
In comparison with the above examples, the former Deepdene Post Office is a much
more modest building, in size and design, as would be expected of a private commercial
building in a newly established shopping strip.
No other early post office agencies were identified in the Environmental History, apart
from the former temporary Ashburton Post Office (285b High Street) established in
former army hut in 1949, now an op shop (Built Heritage, 2012: 73).
The use of post office agencies has again become popular with the creation of the
Australia Post government-owned corporation in 1975. In the study area, for example,
the post office at 782 Glenferrie Road, Hawthorn, is located in a former shop in a terrace
of Victorian commercial buildings.
Other commercial buildings in the City of Boroondara which are of a similar style to the
former Deepdene Post Office are:
x
x
877 Burke Road, Camberwell (Contributory to HO505). Built c1915-20. A twostorey shop and residence with a similar use of the Federation Freestyle,
including a parapet with a double curve between raised (octagonal) piers. The
first-floor residential balcony is set behind a semi-circular opening. The shopfront
has been replaced.
809 Burke Road, Camberwell (not on HO). Built c1915. A two-storey shop and
residence with a similar use of the Federation Freestyle, including a parapet with
a double curve between raised (octagonal) piers. The first-floor residential
balcony is set behind two round arches. The shopfront has been replaced.
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x
x
108-112 Maling Road, Canterbury (Individually Significant to HO145) - Built 1914.
Three identical two-storey shops in a row with residences above (each with a
recessed balcony). Render with brick accents (mainly overpainted). Each shop
has an identical undulating-curved parapet between projecting piers with pepperpot caps. Hit-and-miss brick band to balconies and simple leadlight windows on
either side. Shops retain their metal and tiled shopfronts and timber posted
verandah.
Former State Savings Bank, 851 Burke Road, Camberwell (Individually
Significant to HO505) - Built 1907. A large, two-storey red brick and render
building with octagonal engaged piers dividing the four bays. The ground floor
openings are arched and above them are very ornate floral reliefs. The two wide
bays of the first floor have canted oriel windows with ornate leadlights above the
casement windows. The simple red brick parapet is divided by the tops of the
octagonal piers of varying sizes. A building of very high quality and formal detail.
Architecturally, the former Deepdene Post Office most closely compares with 877
Burke Road, as both are modest but attractively detailed buildings which were
stylistically up-to-date for their time. The former post office has a higher level of
intactness, as it retains its original metal-framed shopfront with tiled stallboard and
recessed entry. The two other examples are architect-designed and represent the
most complex and high-quality examples of the Federation Freestyle in the
municipality.
Within the Deepdene commercial precinct, the former post office appears to be one
of the very earliest surviving commercial buildings, preceding the expansion that
came with the electric tramline after 1916. The very modest single-storey shop at 137
Whitehorse Road may also date from the pre-1916 period, but the other shops
appear to date from the 1920s at the earliest. The shop at number 137 is very simple
in composition, with a segmentally arched parapet with brick edging. The shopfront
has been replaced.
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The former Deepdene Post Office illustrates the earliest phase of commercial
development in Deepdene, prior to the rush of development that followed the
replacement of the old horse-drawn tram line down Whitehorse road with an electric
service in 1916. It also illustrates the provision of 'agency' postal services from private
commercial premises, which was seen in the early development of localities, such as the
Hawthorn Post Office of the 1860s, and in smaller commercial centres.
The former Deepdene Post Office is one of the earliest surviving commercial buildings in
the Deepdene commercial centre. Almost all other surviving development dates from the
1920s or later.
Not applicable.
The former Deepdene Post Office is good, representative, and externally intact
Federation Freestyle commercial building. Features of note include the front parapet with
two undulating curves which meet in the middle and are mirrored on the bottom half of
the parapet in raised render. As is typical of the style, the parapet sits between two raised
piers, here with scrolled wrought-iron plates fixed to the face and pyramidal caps at the
top. The shop also retains its original shopfront by Duff shopfitters, with metal-framed
windows, recessed entry and a battered and tiled stallboard.
significance).
Not applicable.
Not applicable.
significance).
Not applicable.
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Not applicable.
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The former Deepdene Post Office at 165 Whitehorse Road, Deepdene. It is a singlestorey brick shop with a parapet front and rear timber wing. It was built as an agency post
office with an attached residence (demolished) in 1914-15 for private owner and post
mistress Ethel Davenport. Her husband, Arthur Davenport, ran a grocer's and stationer's
shop from the same building. The Deepdene Post Office was located here until after
1970.
Later extensions and sheds at the rear are not significant.
The former Deepdene Post Office is of local historical and aesthetic significance to the
City of Boroondara.
The former Deepdene Post Office is of historical significance as a rare survivor of the
earliest phase of commercial development in Deepdene, prior to the rush of development
that followed the replacement of the old horse-drawn tram line down Whitehorse road
with an electric service in 1916. It also illustrates the provision of 'agency' postal services
from private commercial premises, which was seen in the early development of localities,
such as the Hawthorn Post Office of the 1860s, and in smaller commercial centres.
(Criteria A & B)
The former Deepdene Post Office is good, representative, and externally intact
Federation Freestyle commercial building. Features of note include the front parapet with
two undulating curves which meet in the middle and are mirrored on the bottom half of
the parapet in raised render. As is typical of the style, the parapet sits between two raised
piers, here with scrolled wrought-iron plates fixed to the face and pyramidal caps at the
top. The shop also retains its original shopfront by Duff shopfitters, with metal-framed
windows, recessed entry and a battered and tiled stallboard. (Criterion D)
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
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City of Boroondara
14/11/13
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No
No
Identified By
Built Heritage (2012), City of Boroondara Thematic Environmental History.
References
Hunter, Marcella (2000), Australia Post, Delivering more than ever, Edgecliff [NSW].
LV: Land Victoria, Certificates of Title, as cited above.
MMBW: Melbourne and Metropolitan Board of Works plan, as cited above.
Post
Office
List,
'Deepdene',
https://www.premierpostal.com/cgibin/wsProd.sh/Viewpocd.w?, accessed January 2013.
S&Mc: Sands & McDougal street directories, accessed at the State Library of Victoria.
Warmington G S & A Ward (1990), Australia Post Survey of Historic Properties in
Victoria, vols. 1 and 2, Melbourne.
Watson, Gary, John Webster & David Wood (1992), The Post Offices and Hand-Held
Datestamps of Victoria, Vol 2, Tullamarine [Vic].
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RIVERSDALE HOTEL
Address: 277 Auburn Road, Hawthorn
Name: Riversdale Hotel
Architect: William Pitt
Builder:
Extent of Overlay: To the extent of the footprint of the
three-storey hotel and the two-storey addition to the east
end of the Riversdale Road frontage, i.e. the 1888 extent
of the property (refer to the proposed HO map below).
Construction Date: 1888-89
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Historical Context
Locality
In the late nineteenth and early twentieth century, the expanding transport network (trains
and trams) had a major impact on commercial development. In the 1880s the extension
of the railway caused a boom of retail expansion in the existing commercial strips on
Glenferrie Road, Auburn Road and Burke Road, as well as the establishment of new
retail centre around Canterbury and Surrey Hill stations (Built Heritage 2012:98).
The first horse-drawn tram terminus was established in January 1890 at the corner of
Riversdale and Auburn roads. As a result, the intersection became the centre of a new
commercial precinct, which included the Riversdale Hotel (City of Boroondara Local
History Wiki). By this date the Auburn and Burwood roads intersection was a wellestablished retail centre (Peel et al., 1993:111; Gould 1993:54).
The name of the locality where the Riversdale Hotel, at the corner of Auburn and
Riversdale roads, has been variously referred to as Hawthorn (Argus, 2 Sep 1889:3) and
Auburn (Argus 9 Jan 1901:1; 11 Oct 1897:1; Argus, 12 Jul 1938:4; 25 Aug 1956:34).
Hotels
The first licensed premises within the City of Boroondara is said to have been the
Queen's Arms Hotel at the corner of Yarra Street and Burwood Road, Hawthorn,
established 1851. With the opening of the first road bridge across the Yarra River, the
area became more accessible and many hotels opened along Burwood Road, including
the Red Lion Hotel (1852) and the Hawthorn Hotel (1853), as well as the Bridge Hotel on
Church Street (1854). There was a concentration of hotels built in Hawthorn, with the
following built in 1855: the Beehive Hotel on Church Street, the Governor Hotham Hotel
on William Street, the Sir Robert Nickle Hotel on Burwood Road and Fletcher's Hotel on
the corner of Burwood and Glenferrie roads (Built Heritage 2012:105).
It was a tendency for hotels to be built on major intersections, as was the case with the
hotels that appeared through the more sparsely populated districts of the current City of
Boroondara. The early temperance movement in the City of Boroondara was evident in
1874, when the Council resolved to oppose most new licensed houses. Later, in 1920,
the City of Camberwell became a 'dry area' after a local option poll caused the closure of
all hotels and licensed premises in the City (Built Heritage 2012:15, 106).
Development during the 1880s Boom era, and the consequent residential subdivisions,
saw a new burst of hotel construction, particularly along the railway lines, as evident in
the Glenferrie Hotel (1889), the Palace Hotel, Camberwell (1890) and Allen's Auburn
Hotel (1887), to name a few (Built Heritage 2012:106).
In the twentieth century, many hotels received an upgrade as a result of an amendment
made to the Liquor Licensing Act (amended in 1920 after the local option poll), which
enabled the Liquor Licensing Court to approve or disapprove plans for new hotels and to
order improvements to existing ones where necessary. While this legislation closed some
hotels, many were remodelled or entirely rebuilt, as was the case with the Tower Hotel,
rebuilt in 1939 on the opposite corner at 686 Burwood Road, Hawthorn East, with the
original Tower Hotel later demolished. This remodelling continued in the post-war era.
Architects that were prominent in the redesign of hotels in the area during this period
include R H McIntyre and P J O'Connor (Built Heritage 2012:107; Grow 2009:40).
History
In 1853, Robert Cam sold land on (what is now) the corner of Auburn and Riversdale
roads to Edward Sayce (LV: Old Law Note no. 8715). In 1876, Sayce's land totalled just
over 6 acres. In 1883, the land was sold to Henry William Hackeet, accountant, who
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proceeded to subdivide it. In August 1884, a portion including the current No 277 was
sold to Anna Lamond, gentlewoman of 'St Romans', Riversdale Road, Hawthorn, who
further subdivided the land (LV: V823/F486; V1499/F773).
Anna Lamond sold the block that comprises number 277 to Margaret Ryan, widow, in
May 1888. In June of the same year the property was sold to John Joseph Rosney,
gentleman (LV: V1602/F306; V2025/898; V2499/606).
An 1888 building journal (Building Engineering and Mining Journal 25 Aug 1888: suppl.
5) notes that a tender was accepted by architect William Pitt in August 1888 for the
erection of a hotel in Auburn, for J Rosney, which accords with the Riversdale Hotel (Peel
et al., 1993:111).
John J Rosney, of Burwood Road, Hawthorn, gentleman applied to obtain a victualler's
license 'for a new house proposed to be built and situate at the corner of Riversdale and
Auburn roads' which is described to contain 'forty four rooms exclusive of those required
for the use of [Rosney's] family and servants, at least 30 of the said rooms being
bedrooms' (Argus, 3 Nov 1888:21). Rosney held the license from 1890-93 (City of
Boroondara Wiki).
Rosney is first listed in the Sands & McDougall directories on Auburn Road, near the
corner of Riversdale Road in 1889. It is not until 1890 that the Riversdale Hotel itself is
mentioned in the directories, operated by J Rosney.
Figure 1 Early view of Riversdale Hotel, nd. (Local History Photograph - Hawthorn 1387,
Boroondara Library Service)
The 1904 MMBW plan shows the hotel as having a U-shaped plan (the arms of the U
extending east) with toilets and a long stable block at the rear (the toilets are just visible
in the early views held by the Boroondara Library). This portion of the site is currently
occupied by a two-storey extension to the hotel.
Rosney's widow, Annie, held the license from 1894 to 1922 and became the owner of the
Riversdale Hotel in January 1898 (LV: V2692/F334; City of Boroondara Wiki). After Annie
Rosney's death in 1930, the hotel was passed to Ellen Corry, widow, and William Hoare,
solicitor, in March 1933. In January 1935, James Parsons, hotelkeeper, became the
owner and held the license for three years (LV: V2692/F334; City of Boroondara Wiki).
From 1938 to 1978, Riversdale Investments Pty Ltd are listed as the owner. An article in
the Argus in 1938 (12 Jul 1938:4) reports that James Stewart Parsons transferred the
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hotel license of Riversdale Hotel, Auburn, to Harry Thom, who held it for one year.
Clarence Williams held the license for the hotel from 1939 to 1951 (City of Boroondara
Wiki). In 1978, VAR & G Zagame Pty Ltd became the registered owners. In 1991, one
third of ownership was transferred to Lou Nominees (LV: V5836/F013; V8921/F556).
An early photo shows the north and west facades with urns on the parapet, and an
arched pediment to the corner of the parapet (Boroondara library collection, Riversdale
Hotel, no date). This detail was removed prior to 1967, and replaced with a modest
triangular pediment. In 1967 the rusticated render and quoins to openings at the ground
floor was hacked off and replaced with the present flat render finish. Also the arched
doorway to the Tabaret (on the north elevation) was created at this time. The architects
of the works were McIntyre, McIntyre & Associates with builders Moushall & Houston
(City of Boroondara Building Permit records, Permit 7058, 30/05/1967). It is not known
precisely when the two-storey addition was constructed to the Riversdale Road facade,
but it was prior to 1967, and could have been the 'alterations and additions' of 1955 (City
of Boroondara Building Permit records, Permit 794, 1955). A building permit was granted
in 1971 for the installation of a cantilevered verandah (City of Boroondara Building Permit
records, Permit 9638, 26/07/1971), but it is not known if this went ahead.
Figure 2 View of Riversdale Hotel, 1968, just after the ground-floor render detail had been
removed. (Wolfgang Sievers, National Library of Australia)
William Pitt, Architect
William Pitt (1855-1918) was born in Melbourne and was both a politician and an
architect. Designing mostly public buildings, his most prominent works became
exemplars of the Boom Style of 'Marvellous Melbourne' in the 1880s. Following his
studies, he served his articles with architect George Brown and began to practice in
1879. In his first year he won first prize for his design of the Melbourne Coffee Palace on
Bourke Street, one of the tallest buildings in Melbourne at the time with its five storeys,
and the city's first temperance hotel (Goad 2012:542).
Pitt's early works, commissioned through competitions, include the Falls' (Queen's)
Bridge (1880), the Premier Permanent Building Society's Offices (1880) and 'Our
Lodgings' (1883; now Gordon House) on Little Bourke Street; and tenement lodgings built
for theatrical entrepreneur George Coppin (Goad 2012:542).
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In 1886, Pitt designed St Peter's parsonage at Eastern Hill (ADB). In the same year, Pitt
designed the Princess Theatre in Spring Street, the third theatre on the site, in the
French Second Empire style. In addition, Pitt collaborated with competition winners
Ellerker & Kilburn for the design of the 500-room Federal Coffee Palace on the corner of
King and Collins streets (1887-90), before completing Classical designs for St Kilda Town
Hall (1887) and Brunswick Town Hall (c1889) (Goad 2012: 543).
He adopted the Venetian form of the Gothic Revival style for commercial offices, as
evident in the Olderfleet Building (1888), Stock Exchange (1888-91) and Rialto Building
(1889), all located on Collins Street. These, along with the Safe Deposit Building (1890)
on Queen Street, were all multi-level office buildings with superior Gothic Revival detail
(Goad 2012: 543).
Pitt also designed hotels during, and beyond, this period. They include Waterloo Cup
Hotel, Ascot Vale (1887), Leitrim Hotel, Little Lonsdale Street (1888); the Riversdale
Hotel, Hawthorn (1888-9); the Markillies Hotel, Flinders Street (1890) and the Lord Clyde
Hotel (now the Waterside), Flinders Street (1915).
Partnering with architect Albion Walkley in 1900, their firm took on a number of diverse
projects, which included industrial buildings and many theatre buildings throughout
Victoria, Sydney, Adelaide, as well as New Zealand (Goad 2012:543-4; ADB).
The Riversdale Hotel stands on the south-east corner of Auburn and Riversdale roads. It
addresses the corner with a chamfered bay. It is Italianate in style, typical of the Boom
era of the 1880s. The building is three storeys in height and is terminated with an open
balustrade. It is surrounded by two-storey buildings of a similar era and by virtue of its
situation, scale and level of architectural pretension, it is a landmark building.
The entire building is finished in cement render, including the Renaissance Revival
details such as triangular pediments and segmentally arched pediments resting on
corbels to the first and second storeys, respectively. The centre of the Auburn Road
facade is defined by three-bay arcades at both of the upper levels. This is the most
ornate part of the building with scrolled keystones to the arches and engaged Corinthian
columns with fluted bases and swags around the middle on either side of the arches.
There are simple moulded cornices between the floors with a modillioned cornice below
the parapet.
As noted in the history, in 1967 the ground floor was simplified, with the rusticated render
and render voussoirs to the arched door and window openings stripped off and replaced
with plain render. The course of rock-faced bluestone at the base was retained, as were
the openings themselves. The window and door joinery, however, was replaced. Also
before this time the urns to the balustrade and arched pediment to the chamfered corner
were removed. The arched pediment was replaced by a smaller and simpler triangular
pediment.
No other buildings designed by William Pitt in the City of Boroondara are specifically
identified in Heritage Victoria's Hermes database. However, the Australia Architectural
Index records up to 10 commissions undertaken by William Pitt (including those by his
later partnership, Pitt & Walkley, up until the time of his death in 1915) in the current City
of Boroondara. Most of them are houses, with a few garages and shops. The Riversdale
Hotel is his only recorded design of this type in Boroondara.
The Riversdale Hotel is one of a number of Boom-era hotels of the late 19th-century to
survive in the City of Boroondara, including:
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x
x
x
x
Allen's Auburn Hotel (1887), 87 Auburn Road, Hawthorn (Individually significant
in HO260). A grand, highly intact, three-storey corner hotel designed by architect
William Wolf in the French Renaissance style. On both frontages it has a doubleheight open arcade at the centre of the elevation, with trabeated (rectangular)
openings at the first floor and arches at the second floor.
Glenferrie Hotel (1889), 324-326 Burwood Road, Hawthorn (Individually
significant in HO491). Unusual for hotels of this era as it is not on a corner site.
The three-storey building is in the Italianate Boom style, with the most ornate
detail the large broken pediment at the centre of the parapet. Some alterations to
the ground floor, including the enlargement of openings and replacement of the
doors.
Canterbury Mansions (former Malone's Family Hotel, 1889), 208 Canterbury
Road, Canterbury (VHR H869, HO29). A three-storey hotel corner with tower in
the Italianate Boom Style, highly intact.
Palace Hotel, Camberwell (1890), 893 Burke Road, Camberwell (Individually
significant in HO505). A three-storey corner hotel in the Italianate Boom style with
an octagonal tower. Some alterations, including infilling nearly all openings at the
first floor level, and replacement of most ground-floor windows and doors.
The Riversdale Hotel shares the Italianate detailing of most of Boroondara's Boom-era
hotels, and shares the double-height arcade motif with the Auburn Hotel. Like the other
three corner hotels, its height, size and prominent position give it landmark qualities. In
intactness, it is comparable to the Palace Hotel.
The Riversdale Hotel illustrates the new burst of hotel construction that came with the
new residential subdivisions and the overall property development boom of the late
1880s. The Riversdale Hotel was the anchor for the commercial precinct which grew up
around the intersection of Riversdale and Auburn roads, accelerated by the coming of a
horse-drawn tram terminus in January 1890, just after the hotel was built.
This is the only hotel and major commercial building by architect William Pitt known in the
City of Boroondara.
Not applicable
The Riversdale Hotel is one of a number of late 19 th-century hotels in the City of
Boroondara which has a prominent corner site, a larger scale than the surrounding two-
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storey commercial buildings - making it stand out even more, and the use of the
Classical-inspired Boom style.
significance).
The Riversdale Hotel is a representative example of the Italianate Boom style, as
practiced by leading architect William Pitt. Significant features, drawn from the
Renaissance Revival and executed in cement render, include triangular and segmentally
arched pediments to upper-storey windows, a balustrade parapet, and an ornate doublestorey arcade at the centre of the Auburn Road facade.
Not applicable
significance).
The Riversdale Hotel has been both a local meeting place and a local landmark since its
construction in 1888. It is still employed for its original use.
The Riversdale Hotel has associations with its designer, architect William Pitt (18551918). Pitt was one of the leading practitioners of the 'Boom style' in 1880s Melbourne,
designing major landmarks ranging from Queen's Bridge, the Princess Theatre, St Kilda
and Brunswick town halls, the suite of Venetian Gothic Olderfleet, Stock Exchange and
Rialto buildings, and numerous local hotels.
The Riversdale Hotel, 277 Auburn Road, Hawthorn, designed by architect William Pitt
and constructed in 1888 for owner John J Rosney. The hotel was run by JJ Rosney until
his death in the early 1890s, after which his widow, Annie Rosney, was the owner and
licensee until 1930.
The two-storey addition to the east side of the Riversdale Road frontage is not significant.
The Riversdale Hotel is of local aesthetic, architectural and historic significance to the
City of Boroondara.
The Riversdale Hotel is of aesthetic and architectural significance as a representative
example of the Italianate Boom style of the late 1880s as applied to a major commercial
building. Typical features of this style include Renaissance-inspired triangular and
segmentally arched pediments to upper-storey windows, a balustrade parapet, and an
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ornate double-storey arcade at the centre of the Auburn Road facade, all executed in
cement render. (Criterion E)
The Riversdale Hotel is of architectural significance as a rare commercial design by
William Pitt in the City of Boroondara. Pitt (1855-1918) was one of the leading
practitioners of the 'Boom style' in 1880s metropolitan Melbourne, designing major
landmarks ranging from Queen's Bridge, the Princess Theatre, St Kilda and Brunswick
town halls, the suite of Venetian Gothic Olderfleet, Stock Exchange and Rialto buildings,
and numerous local hotels. (Criterion H)
The Riversdale Hotel is of historic significance as a local landmark and gathering place as licensed premises - since it was built in 1888. It provided a visual and economic
anchor to the new commercial precinct which grew at the intersection of Auburn and
Riversdale roads, accelerated by the coming of a horse-drawn tram terminus in January
1890, just after the hotel was built. The hotel also illustrates the new burst of hotel
construction that came with the new residential subdivisions and the overall property
development boom of late 1880s metropolitan Melbourne. (Criteria A & G)
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
No
Identified By
M Gould, 'Hawthorn Heritage Study', 1993.
References
Australian Dictionary of Biography (ADB), 'William Pitt', http://adb.anu.edu.au/, accessed
29/10/12.
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Australasian Builder and Contractor's News, 18 August 1887, viewed in Miles Lewis'
Australian Architectural Index.
Boroondara Library collection, http://boroondara.spydus.com/, accessed 6 Sep 2012.
Building Engineering and Mining Journal, 25 August 1888: supplement 5, viewed in Miles
Lewis' Australian Architectural Index.
City
of
Boroondara
Local
History
Wiki,
'Riversdale
Hotel',
http://coblocalhistory.pbworks.com/, accessed 24/10/12.
Goad, Philip, 'William Pitt' in Philip Goad and Julie Willis' (eds) (2012), The Encyclopedia
of Australian Architecture, Cambridge.
Gould, Meredith (1993), 'Hawthorn Heritage Study', Vol 1A, prepared for Hawthorn City
Council.
Grow, Robin (2009), Melbourne Art Deco, Collingwood.
Land Victoria (LV), Certificates of Title and Old Law Notes, as cited above.
MMBW: Melbourne and Metropolitan Board of Works, Detail Plan 1540, City of
Hawthorn.
National Library of Australia (NLA), picture collection, http://www.nla.gov.au/, accessed 6
Sep 12.
Peel, Victoria, Deborah Zion & Jane Yule (1993), A History of Hawthorn, Carlton.
Sands & McDougal directories.
The Argus.
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Butcher's Shop & Residence, former
Address: 287 - 289 Auburn Road, Hawthorn
Name: Butcher's Shop and Residence, former
Survey Date: 24 Aug. 2012
Architect:
Builder:
Historical Context
In the late nineteenth and early twentieth century, the expanding transport network (trains
and trams) had a major impact on commercial development. In the 1880s the extension
of the railway caused a boom of retail expansion in the existing commercial strips on
Glenferrie Road, Auburn Road and Burke Road, as well as the establishment of new
retail centre around Canterbury and Surrey Hill stations (Built Heritage 2012:98).
The first horse-drawn tram terminus was established in January 1890 at the corner of
Riversdale and Auburn roads. As a result, the intersection became the centre of a new
commercial precinct (City of Boroondara Local History Wiki).
By 1890 the Auburn and Burwood roads intersection was a well-established retail centre
(Gould 1993:54). By 1900, Kew Junction, Camberwell Junction and the hub at the
intersection of Glenferrie and Burwood roads were the established pre-eminent retail
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areas, while Auburn Road in Hawthorn East followed close behind (Built Heritage
2012:100).
History
In 1908, William Carr, butcher (of Auburn Road) became the owner of land that included
287-289 Auburn Road (LV: V3259/F684).
Prior to this date (from at least 1900, as confirmed in the street directories) W A Carr had
run a butcher's shop a few doors down from the current building, on Auburn Road just
north of Broomfield Road (then number 223). By 1910, William A Carr, butcher was
operating further north at what is now 287-289 Auburn Road (then numbers 209-211),
while this site had been noted as vacant land a year earlier (S&Mc directories), giving a
built date of 1909-10. The site of Carr's previous shop was shown as vacant land in 1910,
suggesting it had been demolished.
The architect of the building at what is now 287-289 Auburn Road has not been
identified. While stylistically it has much in common with the work of architect Robert
Haddon, no tender notice for the building could be located, nor is the designer recorded
in the City of Boroondara buildings files.
The Hawthorn City Council approved the registration of 'W A Carr, butcher, 211 Auburn
Road' at their 13 July 1910 meeting (Box Hill Reporter, 22 July 1910: 7). By 1918 the
street numbering had changed, and 'W A Carr, Wholesale and Retail Butcher' was
advertising from 287-289 Auburn Road (Hawthorn, Kew and Camberwell Citizen, 19 April
1918: 3). 'W A Carr Butcher' remains inscribed on the parapet of the building.
Carr later subdivided his property and in July 1936, the shops and residence at 287-289
were sold to Charles Lloyd (LV: V3259/684).
The shop at number 287 had 'alterations' carried out in 1987, for owner Rushbank Pty
Ltd. The shop front of number 289 was rebuilt in 1973 by G&G Shop Fitters, for owner A
Rouge. In 1987, a brick 'factory' was built at number 289 for owner J C Morley (Council
building files); this appears to be at the rear of the site.
The former W.A. Carr's Butcher Shop is a two-storey brick building with two shops to the
ground floor and an upstairs residence, with its entrance between the shops. The walls
are of red brick with render dressings in the Federation Freestyle style (also called the
Edwardian Baroque). The building is distinguished by its unusual design, evocative of the
work of architect Robert Haddon, particularly details such as 'pepper-pot' pinnacles to the
parapet and the wide tiled arch.
The ground floor is divided into three sections of differing size. At number 287 is a narrow
shopfront with a central recessed entry. It retains its original metal-framed shopfront with
frosted glass highlights, a glazed timber door, and tiled stallboard (overpainted). Next to it
is a narrow recessed entry to the upstairs residence (number 289A), which retains its
original doorway (three-panelled door with an arched light, small sidelight and two
highlights with simple leadlights in them, and a bluestone lintel). The south half of the
facade comprises a larger shopfront (likely the location of Carr's butcher shop).
All parts of the ground floor share a timber-framed skillion verandah with simple vertical
slats at either end. It is suspended on cables, which may have been a later alteration to
an originally posted verandah.
The upper floor is symmetrical in form, divided into three bays by plain brick pilasters.
The central bay is the most striking, and is almost wholly taken up by a large round-
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headed arch with a very fine bead around the edge executed in moulded red brick. At the
centre of the arch is a simple render keystone, and the sides of the arch rest on dwarf
piers with Art Nouveau capitals. Between the piers is a balustrade of hit-and-miss brick.
The spandrels of the arch are filled with grass-green tiles. Set behind the arch is a
balcony for the residence.
The two side bays each have a canted oriel window resting on two curved timber
brackets and set beneath a tiled hood resting on larger curved brackets infilled with slats
(like the verandah ends). The windows are casements with segmentally arched tops
below leadlight highlights (similar to those above the entry door).
Apart from the arch at the centre of the first floor, the other most striking feature of the
facade is the parapet, which is divided into three bays by octagonal pinnacles with
Baroque-inspired 'pepper-pot' tops. They taper off to a point where they meet the brick
pilasters, at the top of the first floor facade. The two side bays of the parapet are of plain
brick with moulded cement dressings above and below. The central bay of the parapet,
however, is finished in smooth render (with raised lettering: W.A. CARR. BUTCHER.). It
is higher than the two sides, as are the flanking pinnacles, and follows an undulating
arch, typical of the Federation Freestyle.
The roof is not visible behind the front or side parapets, but there is a corbelled brick
chimney on the north and south sides, near the front.
All of the rendered details of the facade (stringcourses, cornice, engaged 'columns',
arched parapet) are free from modern paint. There are hints of a yellowish colour on
sheltered parts of the render, suggesting it may have been limewashed or colourwashed
originally. Optimally, this should be investigated before any repainting/recoating so that
the original colour and finish type can be reinstated. There is a faded painted sign on the
upper part of the north wall (number 287).
At the rear of number 289 is a single storey wing which is attached to a two-storey,
gabled stables at the back of the property, all in the same red facebrick as the main
building.
External alterations to the building noted are as follows: The tiled stallboard to number
287 has been overpainted, as has the facebrick around the shopfront and entrance to
number 289A. The entire shopfront at number 289 has been replaced with an
unsympathetic modern one. All windows (all with segmentally arched brick lintels and
bluestone sills) to the south side elevation of number 289 and the stables at the rear
have been filled in with brick, as have the upper-level openings to the stables. A large
opening for a modern roller door was also created to the east elevation of the stables.
This was likely part of the works to create a factory in the rear yard in 1987.
Buildings comparable to W.A. Carr's Butcher Shop, in style, creativity and intactness are
small in number in the City of Boroondara. The handful of suitable examples found are:
x
108-112 Maling Road, Canterbury (Individually Significant to HO145) - Built 1914.
Three identical two-storey shops in a row with residences above (each with a
recessed balcony). Render with brick accents (mainly overpainted). Each shop
has an identical undulating-curved parapet between projecting piers with pepperpot caps. Hit-and-miss brick band to balconies and simple leadlight windows on
either side. Shops retain their metal and tiled shopfronts and timber posted
verandah.
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x
Former State Savings Bank, 851 Burke Road, Camberwell (Individually
Significant to HO505) - Built 1907. A large, two-storey red brick and render
building with octagonal engaged piers dividing the four bays. The ground floor
openings are arched and above them are very ornate floral reliefs. The two wide
bays of the first floor have canted oriel windows with ornate leadlights above the
casement windows. The simple red brick parapet is divided by the tops of the
octagonal piers of varying sizes. A building of very high quality and formal detail.
x
Hawthorn Fire Station, 66-68 Williams Street (VHR H1327) - Built 1910 to a
design by Oakden and Ballentyne. A fine example of a Federation Freestyle
building in red brick with minimal render dressings and Art Nouveau-inspired
wrought iron detail. Quite different in form and detail to Carr's Butcher Shop,
apart from the large round-headed arches to the ground-floor window and garage
entries, and the used of miniature curved parapets at the corner of the roof
(suggesting a tower).
In comparison to the Maling Road shops, Carr's Butcher Shop is of comparable
intactness (while it only retains one of two original shopfronts, its brick and render have
not been overpainted), and is a more striking architectural composition. In comparison to
the former Bank, its detailing is more domestic and quality of the renderwork not as
exquisite, but its parapet is of greater interest. (It is far more intact, as well, as all that
remains of the Bank is its facade.)
Further afield, in the City of Yarra, two more comparable buildings were noted, neither of
whose architect has been identified, but similarities to Robert Haddon's work was noted:
x
162-164 Bridge Road, Richmond (Individually Significant to HO310), c1900-15.
Similar materials palette (red brick and unpainted render), undulating curve to
parapet and pepper-pot pinnacles.
x
486-488 Bridge Road, Richmond, (Individually Significant to HO310), 1917 (488)
& 1924 (486 - dates on parapet). Similar materials palette (red brick and
unpainted render), use of round arch with green tiled spandrels (though here with
a Saracenic flavour), unusual pinnacles to parapet (here with ball at top).
The complex of butcher's shop and stables demonstrates the importance of horse-drawn
transport to businesses in the 19th and early 20th century.
A rare example in Boroondara of the Federation Freestyle.
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Not applicable.
Not applicable.
significance).
The former Carr's Butcher Shop is a distinguished example of the Federation Freestyle of
the ilk practiced by architect Robert Haddon among others. The designer of this building
has not been identified. It demonstrates the use of red facebrick paired with render
dressings, the strong round arch to the balcony, Art Nouveau inspired detail such as the
floral capitals, and the distinctive parapet with a curved central bay and articulated with
octagonal pinnacles with pepper-pot tops.
Not applicable.
significance).
Not applicable.
Not applicable.
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The former W.A. Carr's Butcher Shop and Residence at 287-289 Auburn Road,
Hawthorn, built in 1909-1910 for local butcher William A Carr and owned and occupied
by him until 1936. It is a two-storey brick building with render dressings which
incorporates two shopfronts and a residential entrance at the ground floor, residence at
the upper level. The upper level is articulated with two timber oriel windows and a central
balcony behind a large arch.
The building is significant to the extent of the original fabric, later alterations and
additions are not significant. The two-storey stables at the rear of number 289 is
contributory.
The former Carr's Butcher Shop is of local architectural and historic significance to the
City of Boroondara.
The former Carr's Butcher Shop is well-preserved and distinguished example of the
Federation Freestyle of the ilk practiced by architect Robert Haddon. It demonstrates the
use of red facebrick paired with render dressings, the strong round arch to the balcony,
Art Nouveau inspired detail such as the floral capitals, and the distinctive parapet with a
curved central bay and articulated with octagonal pinnacles with pepper-pot tops. It is
also notable for the survival of the render in an unpainted condition. (Criterion E)
The complex of butcher's shop and stables demonstrates the importance of horse-drawn
transport to businesses in the 19th and early 20th century, when most businesses had to
maintain their own cart and horses for everyday use. (Criterion A)
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
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No
Identified By
M Gould, Hawthorn Heritage Study, 1992.
References
Boroondara City Council, building files, 287 & 289 Auburn Road.
Council.
Sands & McDougall (S&Mc) directories, dates as cited above.
The Box Hill Reporter.
The Hawthorn, Kew and Camberwell Citizen.
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Jones-Evan House (Gallery House)
Address: 23 Morang Road, Hawthorn
Name: Jones-Evan House (Gallery House)
Survey Date: Jan 2013
Architect: Dale Jones-Evans
Grading: Individually Significant
Builder:
Historical Context
Architects making homes for themselves
An interesting sub-theme expressed in post war middle-class housing across Boroondara
is the above-average proportion of dwellings that were designed by noted Melbourne
architects for themselves and their families.
This trend continued into the 1960s and beyond, during which the geographical focus
moved from the high concentration around Studley Park to Hawthorn, Kew, Kew East
and Camberwell. In the later 1970s, three houses in the study area designed by
architects for their own occupation won major architectural awards three years in a row.
These include the respective residences of Norman Day in Hawthorn (1973), John Kenny
in Kew (1978), and Kevin Makin in Hawthorn (1979).
Other architects who, in more recent years, have designed new houses for
themselves in the study area include prominent architects John Wardle and Sean
Godsell.
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A consistent feature of these houses is their individuality and their striving for new and
sophisticated architectural expression. They are rarely contextual with the predominant
neighbourhood character.
Dale Jones-Evans, architect
Dale Jones-Evans was born in Melbourne in 1955 and completed his studies at the
Caulfield Institute of Technology and Royal Melbourne Institute of Technology (Design &
Art Australia). Between 1983 and 1987 Jones-Evans partnered with Roger Wood and
Randal Marsh to form the partnership 'Biltmoderne'. An example of their work is unique
Macrae and Way Film Production offices (1985) at 3 Francis Street, South Melbourne
(Goad 1999:216).
Practicing as Jones-Evans Pty Ltd Architecture, he moved the office to Potts Point in
Sydney in 1993 (Design & Art Australia Online). The multi-disciplinary firm promotes its
'multivalent architecture', which 'integrates sculptural and painterly space with
environmental and contextual performance'. The firm is engaged in commercial, leisure
and residential projects in Australia and America (Dale Jones-Evans architecture; City
Architects).
History
In July 1988, Brenda Jones-Evans of Elgin Street Hawthorn, purchased 23 Morang Road
(LV: V7865/085). Architect Dale Jones-Evans designed the existing house, called
'Gallery House', built for his mother in 1987-1990. However, Built Heritage suggests that
the house was built for himself (Built Heritage 2012:149-50; Dale Jones-Evans
architecture).
In 1991, Jones-Evans' 'Gallery House' was awarded the Royal Australian Institute of
Architects (RAIA) National Robyn Boyd Award for Most Outstanding Domestic
Architecture. In the same year he also received the RAIA Victorian Merit Award for
Outstanding Architecture, for the house (Dale Jones-Evans architecture).
The Gallery house, designed and built by Dale Jones-Evans in 1987-90, is an early
example of the innovative work of this architect. It is an idiosyncratic house with design
elements drawn from a number of sources and assembled in linear form to suit the
narrow block. It is described by the architect as “a series of strung out pavilions,
cantilevered and suspended rooms are assembled around a series of designed
courtyard-gardens. The central spine made of bridges connects the spaces through a
journey of vistas and voids”.
A wall at the front of the site has an Eastern-inspired gateway with a wall behind,
ensuring that anyone approaching the house must turn to right or left rather than going
straight ahead. The house is a series of thin cantilevered pavilions clad in different
materials, with rooves extending to form porches. To the south side a long extruded form
half barrel vault clad in curved corrugated iron provides a counterpoint in form to that of
the rectilinear form elsewhere in the design. The 'half barrel' element is the dominant
form through which the ‘boxes’ are attached.
To the front elevation, the house presents with a cantilevered ‘box’. The box concludes
with a frame that extends at an almost impossible distance into the front garden at first
floor level, is clad in zinc ‘fish tail’ shingles and encloses a recessed balcony with glass
balustrade.
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The built form is arranged around several courtyard gardens, one of which is large
enough to provide outdoor living space. The articulation of the building form provides
views from the inside the house to the internal garden space different vantages.
The north and south elevations are radically different. A curved iron addition to the south
contrasts with the rectilinear forms of the north including small decks and horizontal sun
screens. The Gallery House is unusual, distinctive and sets the tone for some of the
radical experiments carried out later by Jones-Evans and the firm of Biltmoderne. The
house has retained its integrity and has no visible external alterations. It is in excellent
condition and appears to be highly intact.
Comparative analysis for the Gallery House is best described as part of a tradition of
architects’ own houses that aim for innovative design and best fit for themselves, as well
as showcasing their work. When this has been demonstrated through accolades from the
RAIA awards process, there is a firm foundation on which to expect an enduring
architecture. There are no useful stylistic comparisons for the Gallery House.
Furthermore this building is the most recently constructed and assessed to be of heritage
significance in the City of Boroondara.
The Gallery house is part of a large group of individual architect designed houses located
in the suburbs of Kew, Hawthorn and Camberwell from the two decades of the 1970s to
1990s. Others include:
x John Kenny’s own house at 7 Raven Street Kew (1978)).
x House, 45 Morang Road, Hawthorn (1979) – Kevin Makin's own (award-winning)
house (also recommended for an HO).
x House, 8 Hodgson Street, Kew (1997) – Sean Godsell's own (internationallypublished) house
x House 1 Kevin Grove Hawthorn (2000) – John Wardle’s own house
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The Gallery House at 23 Morang Road is part of the enduring and ongoing practice of
architects in the post war era building houses for themselves and their families. This
practice stems from the nineteenth century and has been a feature of middle class
housing in Boroondara.
Not applicable
Not applicable
Not applicable
significance).
The Gallery House, designed and built by architect Dale Jones-Evans, is of architectural
significance for its innovation recognised through the Royal Australian Institute of
Architects Robin Boyd Award for residential buildings in 1991. As Australia’s most
prestigious annual architectural residential housing award, the Robin Boyd Award is
given to houses that set new benchmarks in terms of meeting the client’s needs,
responding to its site, and providing shelter which is at the leading edge of house design.
Dale Jones-Evans later became part of the innovative architectural practice Biltmoderne,
with Randal Marsh and Roger Wood producing some highly innovative buildings.
Not applicable
significance).
Not applicable
Not applicable
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The Gallery House at 23 Morang Road Hawthorn designed and built between 1987 and
1991 by Dale Jones-Evans is significant.
The Gallery House is of local historical and architectural significance to the City of
Boroondara.
The Gallery House at 23 Morang Road is part of the enduring and ongoing practice of
The Gallery House, designed and built by architect Dale Jones-Evans, is of architectural
significance for its innovation recognised through the Royal Australian Institute of
Architects Robin Boyd Award for residential buildings in 1991. As Australia’s most
prestigious annual architectural residential housing award, the Robin Boyd Award is
given to houses that set new benchmarks in terms of meeting the client’s needs,
responding to its site, and providing shelter which is at the leading edge of house design.
Dale Jones-Evans later became part of the innovative architectural practice Biltmoderne,
with Randal Marsh and Roger Wood, producing some highly innovative buildings.
Planning Scheme as an individually significant place.
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
No
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City of Boroondara
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Identified By
Built Heritage, 'City of Boroondara Thematic Environmental History', 2012
References
City Architects, 'Dale Jones-Evans Pty Ltd Architect', http://cityarchitects.com.au/,
accessed 1/11/12
Dale Jones-Evans Architecture, 'Gallery House', http://www.dje.com.au/, accessed
24/10/12.
Design & Art Australia Online, 'Dale Jones-Evans', http://www.daao.org.au/, accessed
1/11/12.
Goad, Philip (1999), Melbourne Architecture, Sydney.
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Makin house
Address: 45 Morang Road, Hawthorn
Name: Makin House
Architect: Kevin Makin
Builder:
Historical Context
Architects making homes for themselves
An interesting sub-theme expressed in post war middle-class housing across Boroondara
is the above-average proportion of dwellings that were designed by noted Melbourne
architects for themselves and their families.
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This trend continued into the 1960s and beyond, during which the geographical focus
moved from the high concentration around Studley Park to Hawthorn, Kew, Kew East
and Camberwell . In the later 1970s, three houses in the study area designed by
architects for their own occupation won major architectural awards three years in a row.
These include the respective residences of Norman Day in Hawthorn (1973), John Kenny
in Kew (1978), and later houses by John Wardle, Sean Godsell and Dale Jones Evans.
Other architects who, in more recent years, have designed new houses for
themselves in the study area include prominent architects John Wardle
Godsell.
and Sean
A consistent feature of these houses is their individuality and their striving for new and
sophisticated architectural expression. They are rarely contextual with the predominant
neighbourhood character.
Kevin Makin, architect
Little is known of architect Kevin Makin, yet he was recognised by the Royal Australian
Institute of Architects (RAIA) with an award for new House of the Year in 1979, for 'Makin
House' at 45 Morang Road, Hawthorn. The Age (8 Jan 1979) published an article in
1979, written by RAIA (Vic) Director John Barker, highlighting his design of a house built
in Arthurs Seat which was recognised for its design solutions that wind and noise
problems, as a result of the house's sea-side location.
History
In November 1975, 45 Morang Road was sold to the Yannopolous'. In February 1977,
Kevin Makin, architect, and his wife Tanya, interior decorator, became the owners (LV:
V3062/F260). Kevin Makin designed the existing house at 45 Morang Road between
1977 and 1979 (Built Heritage 2012:150).
The design won the Royal Australian Institute of Architects' (RAIA) bronze medal for the
House of the Year in 1979. The jury described the house as an example of ' how flair and
imagination can achieve a distinguished architectural solution at a minimal cost'
(Heritage Alliance 2008:196; Age 20 Aug 1979). An article in the Age (20 Aug 1979) that
reported on the RAIA awards, written by RAIA (Vic) Director Dennis Carter, noted that
'Makin's brick cube is an architectural understatement. It was not conceived in visual
terms – but designed to a price, and to be a functional house.'
Morang Road has a small linear park, the boundary of which is close to the narrow site
occupied by 45 Morang Road. The proximity to the park and the views of the green
space that could be obtained was a key driver in the design of the Makin House.
The front elevation consists of a sheer two storey brick wall however a splayed corner
window extends the full two storeys, enabling a view of the parkland. The window is
emphasized through a rounded panel above and a square sill below, which is the only
attention to detail given to the front elevation. The house was designed as a ‘two storey
container’ allowing a free flow of space both vertically and horizontally. It represents a
pure and uncompromising design and its extreme simplicity is a powerful object in the
street.
45 Morang Road was built of brick with a painted surface, and is still painted white and
surrounded by landscaping that matches its extreme simplicity. A garage is at the rear of
the site, concealed by side gates. The front garden has terraced walls of crazy patterned
Castlemaine slate and lawn, with a pair of palm trees providing scale to the house itself.
The palm trees are distinctive but are not known to have been part of the original
landscape design for this house.
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Comparative analysis for the Makin House is best described as part of a tradition of
architects’ own houses that aim for innovative design and best fit for themselves, as well
as showcases for their work. When this has been demonstrated through accolades from
the RAIA awards process, there is a firm foundation on which to expect an enduring
architecture. There is no useful stylistic comparison for the Makin House. Furthermore
this building is one of the most recently constructed and assessed to be of heritage
significance in the City of Boroondara.
The Makin house is part of a group of houses from the two decades of the 1970s to
1990s. Others include:
x John Kenny’s own house at 7 Raven Street Kew (1978) (to be assessed).
x House, 8 Hodgson Street, Kew (1997) – Sean Godsell's own (internationallypublished) house (considered to be too recent to assess but should be revisited
for assessment in the future).
x Gallery House at 23 Morang Road, Hawthorn (1991) – Dale Jones- Evans
(recommended for an HO).
x House 1 Kevin Grove Hawthorn (2000) – John Wardle’s own house (considered
to be too recent to assess but should be revisited for assessment in future).
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The Makin House at 45 Morang Road is part of the enduring and ongoing practice of
Not applicable
Not applicable
Not applicable
significance).
The Makin House, awarded as The Age House of the Year in 1979 is notable as an
architectural understatement and a functional house, designed to a price but achieving a
strong presence. It achieves a striking simplicity and purity of form that is unlike many of
its peers. It is a highly original house with its tall window designed to take in the view of
the park, and its unadorned two storey brick walls.
Not applicable
significance).
Not applicable
Not applicable
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City of Boroondara
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The Makin House at 45 Morang Road Hawthorn designed and built in 1978-9 by architect
Kevin Makin for his own family is significant.
The Makin House is of local architectural and historical significance to the City of
Boroondara.
The Makin House at 45 Morang Road is part of the enduring and ongoing practice of
The Makin House, awarded as The Age House of the Year in 1979 is notable as an
architectural understatement and a functional house, designed to a price but achieving a
strong presence. It achieves a striking simplicity and purity of form that is unlike many of
its peers. It is a highly original house with its tall window designed to take in the view of
the park, and its unadorned two storey brick walls.
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
No
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City of Boroondara
14/11/13
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Identified By
Built Heritage, ‘City of Boroondara Thematic Environmental History’, 2012.
References
Heritage Alliance (2008), 'Survey of Post War Built Heritage in Victoria, Department of
Planning and Community Development'.
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Herborn House
Address: 88 Pleasant Road, Hawthorn East
Name: Herborn House
Architect: Eric M. Nicholls
Builder:
Figure 1 Herborn House, c1950-73 (Peter Willie Collection, State Library of Victoria)
Historical Context
Eric M Nicholls, architect
Eric Milton Nichols (1902-1965) spent most of his youth in Kew and studied at Swinburne
Technical College before completing his article with the Melbourne firm, Haddon &
Henderson between 1913 and 1921. It was at this firm that he was introduced to Robert
Haddon's pursuit of a distinctively Australia style of architecture. After 1921, Nicholls
gained employment in the Melbourne office of Marion Mahoney Griffin and Walter Burley
Griffin. During this period, Nicholls contributed to both residential and commercial
projects, including the Capitol Theatre (1922) and Leonard House (1923, demolished).
Through their instruction, the Griffins undoubtedly instilled in him their distinctive design
ideals, including those of the Prairie Style which was developed in the United States
primarily by Frank Lloyd Wright (a former employer of both Griffins). Nicholls became a
registered architect in Victoria in 1923 (Vernon 2012:495-6).
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Nicholls was able to simultaneously work for the Griffins and take on private
commissions, his first being a meeting hall at the Wesleyan Methodist Church, Highbury
Grove, Kew (1921, HO221). His designs derived from the modular ideas developed by
Griffin, and were similar to Griffin's in their 'chunky, squat proportions', yet differed in plan
and elevation (Johnson 1980:125). Vernon (2012:495-6) cites Nicholls' key works as the
Joseph Lyddy Polish Manufacturers factory in Fitzroy (1922-3, City of Yarra HO334) and
Herborn House in Hawthorn East. He designed his own house in Hill Street, Balwyn
(c1929; demolished) in the Prairie Style, and a house for his mother in Wellington Street,
Kew (c1939; demolished) (Built Heritage 2012:149 & 231-2). He also designed
Beaumont House at 33 Uvadale Grove, Kew (1924-5, HO142) and Stanton House,
Kooyong Road (1923) (Johnson 1980: note 106 of Ch. 3).
In 1925, Nicholls was left to run the Melbourne office, assumed to be a junior partner by
this stage, when the Griffins' moved to Sydney to oversee the construction of their
community, Castlecrag. In 1930, Nicholls moved his family to Castlecrag. In this year he
was made full partner and the firm re-named Griffin & Nicholls, before the Griffins' left for
India in 1935 and Nicholls effectively ran the Australian practice from Sydney. The firm
continued to run under this style until 1942, even after Griffin's death in 1937 and
Marion's return to the USA. Nicholls continued with residential and commercial designs,
many in Castlecrag and most developing his 'earlier themes of crystalline geometries and
massive form'. In 1956, Nicholls formed the firm Nicholls, Elliot & Nicholls, with Ron Elliot
and his son Glynn. It was during this period that Nicholls designed one of his key works,
Caltex House in Sydney (1956) (Vernon 2012:496).
History
Herborn House was designed in 1929 by architect Eric M Nicholls, for Mr A W and his
wife, E M Herborn (AHB Jul 1931:21; original plan in Johnson 1980:124).
In July 1931, The Australian Home Beautiful magazine published an article 'A little house
set on a hilltop' which notes that the house had been completed, and included the original
plans of the house by Nicholls. The article further comments on the pen sketches and
plans that the magazine had published the previous year, of the 'delightful and unusual
little home' (AHB Jul 1931:21). Vernon (2012:496) also dates the house to 1931, while
other sources, including Johnson (2002), date the house to 1928-31 (Prairie School
Traveller, accessed 14 Jan 2013).
The Australian Home Beautiful (Jul 1931:21-24) continues to discuss the house at length,
stating that it had 'carried out its earlier promise of being a departure in domestic
architecture that is quite uncommon'. The article talks of the interweaving of the house
and garden by means of a trellised court at the entrance, with its greenery, flowers and
'creeper-entwined colonnade, in the centre of which a fountain plays'. The pool below
the fountain was electrically lit. To the rear of the house, the garden was designed to be
as labour-saving as the house. The original plan (published in this 1931 article) included
a planting scheme by Nicholls, which was 'virtually carried out', with a list of 100 exotic
and native plants (AHB, Jul 1931:22-4). Johnson (1980:126) compares the landscape
design to that of Walter Burley Griffin, with its open, free-form spatial arrangement. This
arrangement was a departure from the formal, axially-arranged gardens of the 1920s and
30s. Vernon (2012:496) suggests that the garden was designed by both Nicholls and his
wife.
The article notes that the original plan of the house grouped the bedrooms in the east
wing, while the living and kitchen space were in the west wing. It then stated that the
owners 'now [after completion of the house] have conceived the idea of turning the house
into two flats'. The Herborns had converted the bedroom at the south-east corner into a
dining room and kitchenette, and the north-east bedroom into a sitting room, while also
making additions to the rear of the west wing. The article commended the original design,
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which had two front doors, noting 'few homes could be induced to divide into two so
neatly and with so few alterations!' In regards to the interior, it went on, 'comfort and
homeliness have nowhere been sacrificed to bizarre effect', despite the architect's pursuit
of the unconventional. The article commented on the original light fixtures, fireplaces, the
many built-in and often-concealed cupboards (AHB Jul 1931:22-23).
Figure 2
Herborn House, 1931. Note the dark stained timber elements and the tapered front
gate post. (Australian Home Beautiful, 01/07/1931, p 21)
Herborn House has a generous setback from Pleasant Road, behind a semicircular drive
entered via two sets of mild-steel vehicular gates with tapered, rendered piers. This same
configuration is shown on Nicholls' plans of 1929.
The house is single-storey with rendered walls with a U-shaped plan. The main roof has
a low hip, following the U-shaped plan, with very wide, flat eaves extending out from it,
creating a horizontal emphasis. The eaves are strongly defined by boxed gutters with
angled fascias (this form is mirrored in the reverse by the fascias of the front pergola and
corner window hoods). The open side of the 'U' is open to the facade and holds an
entrance courtyard with a small fountain at its centre. The courtyard is enclosed by low
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battered rendered walls that contain planters, above which sits a pergola. The chunky
pergola columns have very unusual geometric capitals and bases which are square with
indented corners. The remaining three walls of the courtyard comprise solely of window
and door openings between columns. Early photos of the house from Australian Home
Beautiful show that these same columns, both freestanding and engaged, were used to
articulate the interior as well. There are two glazed front doors, side by side on the back
wall of the courtyard. The windows are casements with narrow horizontal margin glazing
at the top and bottom.
Due to the U-shaped plan, the facade is articulated as two pavilions around the entrance
courtyard. Each pavilion has a large, protecting vertical mass at the centre. On the west
side this is a wide, rectangular chimney, while on the east side, it is a projecting bay that
terminates at the eaves. On either side of each projecting mass are corner windows
beneath eyebrow-like flat hoods which continue the line of the central pergola. The low
battered walls that enclose the courtyard are interrupted by the chimney breast and
projecting bay, but then start again beneath the corner windows.
The house appears to be highly intact, even retaining its original or early white limewash.
In the rear yard, set well behind the house, is a two-storey Modernist studio with a creambrick wall to the laneway, and steel-framed glazed walls to the garden. It has been sited
with care so as not to intrude upon the 1920s house and appears to sit on the footprint of
the small garage shown in the 1931 site plan.
Built Heritage (2012: 231) notes that the City of Boroondara had many links with Walter
Burley Griffin and his circle. Griffin and his associates Eric Nicholls and Leslie Grant
(both hailing from Kew), as well as EF Billson and JFW Ballantyne. The architecture of
this 'school' was highly distinctive within an interwar architectural context, so it is
appropriate to compare Herborn House to other works by this group, including by
Nicholls himself.
Places in Boroondara designed by Nicholls that have been identified:
x
Men's Fellowship Room, rear Kew Uniting Church, 21-25 Highbury Grove, Kew,
of 1922, part of HO221. A timber building with a high-pitched, tiled roof and
angled fascias to the boxed gutters. The entry doors feature bold prismatic
decoration, and windows have narrow margin glazing at the top and bottom (as at
Herborn House).
x
Beaument (or Beament) House, 33 Uvadale Grove, Kew, 1924-5, Individually
significant to HO198. A roughcast-render clad house with its massing a
combination of cubes. An emphasis on horizontality created by wide eaves with
strongly defined edges delineated with box gutters. The walls project above the
geometric leadlight windows to create hoods, and below the front windows, is a
long masonry planter box, like a plinth to the house. There is an upper storey set
into the roofline with is noted as original in the 1988 'City of Kew Urban
Conservation Study'.
x
34 Fellows Street, Kew, Eric Nicholls, 1929, Contributory to HO143. A rendered
building with a strong horizontal emphasis to the ground floor created by a
projecting hood above the windows and a recessed band below the eaves.
Windows have geometric leadlights, and below them are large, cast-concrete
planter boxes decorated with unusual incised circle motifs and fluting. An upper
storey was added above the main roofline, copying many of these details c1990s.
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Places by Griffin and other architects of his 'school' in Boroondara cited in the Thematic
Environmental History (Built Heritage 2012):
x
House, 7 Warwick Avenue, Surrey Hills, by Walter Burley Griffin, 1923, VHR461
& HO136. A small house of modular concrete-block construction with vertical ribs
(Knitlock). Windows are slim casements with Griffinesque chevron-pattern
glazing bars.
x
George Silcock House, 16 Glenroy Road, Hawthorn, by EF Billson, 1926, HO50.
Externally, the house is dominated by a massive front gable. The building has an
implied plinth, and the wide eaves. Retains its roughcast render front fence.
x
Flats, 7 Rochester Road, Canterbury, by Leslie Grant, 1927, HO184. Cement
rendered, with a flat roof and severe, symmetrical form. Bold horizontal forms
balanced by vertical piers. Chevron-pattern glazing.
In comparison, Herborn House has the highest intactness as any of the comparisons,
down to the limewash on the render. No external alterations were noted to the building,
apart from wear and tear. It exhibits some of the same design details as the others, such
as horizontal margin glazing (Nicholls' Men's Fellowship Room), the use of a plinth at the
base of the walls and corner windows (Billson's Silcock House), the use a raked box
gutter on wide horizontal eaves (Nicholls' Men's Fellowship Room & Beaument House,
and a play between dominant horizontal lines and vertical elements (Griffin's Flats).
Like the comparisons, it was also a highly unusual house when constructed in the 1920s,
far removed from the California Bungalow and Mediterranean Revival styles that were
popular at the time. One of the most distinctive details of the house - the heavy columns
with matching square capitals and bases - are like nothing else seen at the time and
evidence of Nicholls' creativity.
Further afield, a very similar column design - with a square capital and base - is seen at
the Essendon Incinerator (VHR434), designed by Nicholls while at Griffin's office and
constructed in 1929-31. Here the capitals lack the fine detailing seen at Herborn House.
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Figure 3 The Essendon Incinerator, 1929-30. Note the colonnade at the right. (Danae Sidh,
Flikr.com, 2008)
Johnson (1980: 125-6) cites inspiration for the front courtyard as the Mary Williams
House of 1923, which is believed to by 74 Clendon Road, Toorak, the remodelling of an
existing Victorian house (Griffin Society). While this design does incorporate a recessed
entry behind pairs of columns in antis (i.e., recessed within the opening), Nicholls' design
for Herborn House is more fully developed in creating a three-dimensional outdoor
'room'. At the time, the 'embowered court' of Herborn House was praised for bringing 'the
garden almost into the house' (AHB, 01/07/1931:21) - an idea well before its time.
Figure 4 Mary Williams House, 74 Clendon Road, Toorak, remodelled by WB Griffin in 1923 with
a recessed front porch. (Danae Sidh, Flikr.com, 2008)
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A second source of inspiration, cited by Johnson, is the model plan (never realised) for a
'Home of Five Rooms', which Griffin designed c1920 for Melbourne's climate. The house
in this concept has a U-shaped plan with a distinctive recessed and trellised patio forming
the entry to the house. On hot days, windows and doors can be opened to the shaded
internal patio as a source of cool air. This idea is akin to the central courtyards seen in
hot Middle Eastern countries, with the distinct difference of having it open to the street.
Figure 5 Griffin's 'Home of Five Rooms' of c1920 (Birrell 1964:144)
This design has clear links to Herborn House. Nicholls' design more fully develops the
basic concept in a very sculptural way, with the eastern wing projecting further at the
front and rear, the use of wide eaves as a corner device, and the reversal of the typical
bay window - here the projecting bays at the front and rear are solid, without openings,
but are flanked by corner windows.
Herborn House demonstrates the special association between Walter Burley Griffin and
associated architects and the City of Boroondara. In particular, its architect Eric M
Nicholls (1902-65), hailed from Kew and carried out a number of his commissions in the
area, some while simultaneously working in Griffin's practice.
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Not applicable.
Not applicable.
The Herborn House is a highly intact example of the Australian interpretation of the
Prairie style, by a member of Walter Burley Griffin's 'school'.
significance).
Herborn House designed by architect Eric M Nicholls (1902-65) shares features such as
strong horizontal lines in tension with vertical elements and ahistorical ornamentation
with other buildings in Boroondara by Griffin and his associates. Most of their houses
were clad in cement render, with concrete elements. The capitals and bases of the
columns used to define the courtyard and internal spaces are a refinement on those seen
at Nicholls' Essendon Incinerator of 1929-30. Other design features it shares with
buildings in Boroondara by Griffin and his 'school', include horizontal margin glazing
(Nicholls' Men's Fellowship Room), the use of a plinth at the base of the walls and corner
windows (Billson's Silcock House), the use a raked box gutter on wide horizontal eaves
(Nicholls' Men's Fellowship Room & Beaument House, and a play between dominant
horizontal lines and vertical elements (Griffin's Flats).
Herborn House is a considered to be one of the defining examples of Eric M Nicholls'
oeuvre, along with the Joseph Liddy Factory in Fitzroy. The traditional house form is
reversed, with a deep courtyard between the front wings of the house effectively creating
an outdoor room which modulates the heat of the Melbourne climate while remaining
open to the public gaze.
significance).
Not applicable.
Herborn House is significant for its association Eric M Nicholls as the architect. Nicholls
was one of the leading proponents of the Prairie Style in Australia. He worked with Walter
Burley Griffin in Melbourne from 1921, contributing to residential and commercial
projects, and running the office after 1925. He also carried out his own commissions
once registered in 1923. Nicholls was from Kew and studied at Swinburne University, and
a number of his surviving works are located in the City of Boroondara, including
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Beaumont House (HO142) and the hall at Wesleyan Methodist Church (HO221). Herborn
House is considered one of the defining designs of his oeuvre, along with the Joseph
Liddy Polish Factory in Fitzroy.
Herborn House, 88 Pleasant Road, Hawthorn East, of 1929-31. The house and garden
were designed for Mr A W and his wife, E M Herborn, by architect Eric M Nicholls. The
house is highly intact, down to the retention of its white limewash finish.
The house is significant to the extent of its 1929-31 fabric. Significant elements of the
design include the low, hipped roofs with wide, flat eaves to the corners, the timber
pergola over the courtyard whose line is continued by the flat hoods over the corner
windows, the battered planter boxes which form a heavy plinth to the building, and the
dematerialisation of the walls into glazing between the characteristic columns.
Its original setting, including the curved entrance drive, semi-circular garden bed,
rendered gate posts and gates at either end, is also of significance.
The modern studio, which stands where the garage once was, is not of significance.
Herborn House is of aesthetic (architectural) and associative significance to the City of
Boroondara and potentially to the State of Victoria.
Architecturally, Herborn House is considered one of the defining examples of Eric M
Nicholls' oeuvre, along with the Joseph Liddy Factory in Fitzroy. The traditional house
form is reversed, with a deep courtyard between the front wings of the house effectively
creating an outdoor room which modulates the heat of the Melbourne climate while
remaining open to the public gaze. Among Nicholls' surviving designs in Boroondara, this
is both the most unusual - for its front courtyard plan and highly sculptural form - and the
most intact. (Criterion F)
Aesthetically, it shares features such as strong horizontal lines in tension with vertical
elements and ahistorical ornamentation with other buildings in Boroondara by Walter
Burley Griffin and his associates. The capitals and bases of the columns used to define
the courtyard and internal spaces are a refinement on those seen at Nicholls' Essendon
Incinerator of 1929-30. Other design features it shares with buildings in Boroondara by
Griffin and his 'school', include horizontal margin glazing (Nicholls' Men's Fellowship
Room), the use of a plinth at the base of the walls and corner windows (Billson's Silcock
House), the use of a raked box gutter on wide horizontal eaves (Nicholls' Men's
Fellowship Room & Beaument House, and a play between dominant horizontal lines and
vertical elements (Griffin's Flats, 7 Rochester Road, Canterbury).
It is of significance for its association with Eric M Nicholls (1902-65) as its architect.
Nicholls was a Kew local and had studied at Swinburne Technical College. Nicholls had
worked with Walter Burley Griffin and Marion Mahoney Griffin since 1921, and ran their
Melbourne office from 1925 to 1930, after which he moved to Castlecrag, Sydney. He
was permitted to carry out his own commissions while working with the Griffins, of which
Herborn House is one. (Criterion H)
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Tree Controls
Incorporated Plan
notice and review?
Yes [due to retention of
limewash; when
repainting limewash
should be used on
cement/concrete
surfaces]
No
No
No
No
No
No
No
Identified By
References
Walter Burley Griffin Society, Melbourne Works, accessed 8
http://www.griffinsociety.org/lives_and_works/a_melbourne.html#built.
March
2012:
Johnson, D L (2002; first published 1980), Australian Architecture 1901-51: Sources of
Modernism, Sydney.
National Trust File B2883, accessed online via Hermes record no. 71767.
Prairie School Traveller, http://www.prairieschooltraveler.com/html/world/aus/aus.html,
accessed 14 January 2013.
The Australian Home Beautiful: a journal for the home builder (AHB) magazine, 'A Little
House Set On A Hilltop' by Easter Soilleux, 1 July 1931, pp20-24. Accessed on microfilm
at the State Library of Victoria.
Vernon, Christopher, 'Eric Nicholls' in Philip Goad and Julie Willis' (eds.) (2012), The
Encyclopedia of Australian Architecture, Cambridge.
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AV Jennings House
Address: 7 Leura Grove, Hawthorn East
Name: House
Architect: Edward Gurney
(attributed)
Builder: A V Jennings
Historical Context
AV Jennings, builders
A V Jennings, founded in 1932 by Albert Victor Jennings, was Melbourne's first project
builder, Australia's largest private home builder and the largest and most influential
provider of house and land packages (Built Heritage 2012:135; NT citation B7247). The
company was known for providing superior brick homes at an affordable price. The
company's most notable pre-war housing estates were located in Ivanhoe (Beauview and
Beaumont estates) and Murrumbeena (Beauville Estate). During the interwar period, no
A V Jennings estates were built within the current City of Boroondara, although one
suburban dwelling was constructed at 7 Leura Grove, Hawthorn (1940). This house is the
company's earliest identifiable project within the City (Built Heritage 2012:135).
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The designer of all of the AV Jennings houses from late 1932 until 1939, and many after
that time, was their in-house designer, Edgar Gurney. Garden (1992:19) notes that while
Guerney was 'essentially designing houses for the middle market, he nevertheless
exhibited an awareness of the latest trends in home architecture'. The majority of his
designs in the 1930s were in the Old English style and a conservative interpretation of
the Moderne style (a standard, hip roof house with Moderne detailing). Garden goes on:
'Few of his homes could be described as avant-garde, but he did include one flat-roof
modern house at Beauville [Estate, Ivanhoe] and of particular interest architecturally is
the flat-roofed, functional Bauhaus which he designed for himself at 17 Melcombe Road,
Ivanhoe.'
In 1943, the company headquarters moved to Trent Street, Burwood. From the early
1940s, A V Jennings began to move away from private housing, in favour of a general
contracting service, which incorporated projects for the Housing Commission of Victoria
and experimentation with prefabricated houses. An example was the prefabricated
plywood house at 55 Birdwood Street, Balwyn (c1940s; demolished), presumably
designed by architect Edgar Gurney, and commissioned as a proto-type by plywood
manufacturers Romcke Pty Ltd. This house was praised as the first wholly prefabricated
house in Australia. In addition to these houses, the company's activities in the 1940s
were limited to a small number of houses in Balwyn North and additions to its
headquarters in Burwood (Built Heritage 2012:135).
A V Jennings is most notably known for their planned community developments in the
post-war decades (NT citation B7247). In the mid-1950s A V Jennings built four
residential estates located around Melbourne, intended to re-establish the company as
providers of high-quality housing. One of these estates was the Trentwood Estate in
Balwyn North, in which cul-de-sacs branched off the central street, Trentwood Avenue.
The estate was progressive for its inclusion of a commercial strip, kindergarten and baby
health centre and RSL clubrooms (Built Heritage 2012:135).
History
In August 1938, Harry Cole, horticulturalist, purchased over one acre (Crown portion
105A, Parish of Boroondara) of land bounded by Leura Grove to the south and Saint
Helens Road to the north. Cole subdivided the land from 1939, and sold 7 Leura Grove to
Frank A G Norton, professional photographer, in April 1940 (LV:V6237/F278). The house
was sold to Louis Pogonowski in November 1950 (LV: V6378/583).
Garden (1992:48) states that the two-storey house at 7 Leura Grove was built in 1940 by
A V Jennings. Jennings was simultaneously building Beauview Estate in Ivanhoe, yet
venturing into other markets. Built Heritage (2012:135) notes that this house is the
company's earliest identified project within the City of Boroondara.
Considering its similarities to houses designed around this time by AV Jenning's in-house
designer, Edgar Gurney, it is believed that he designed the 7 Leura Grove house as well.
The house at 7 Leura Grove, Hawthorn East, is a two-story cream-brick Moderne house
set on a slight rise behind a generous front yard. The front yard is enclosed by a low brick
fence (now rendered) with pyramidal tops to the piers. It curves inward at the east side,
to sweep in along the entrance drive.
The house has a flat, concrete-slab roof. The central, two-storey mass is surrounded by
projecting single-storey wings. The front (south) wing has the most dramatic projection,
and curved walls which mirror the curved corner of the east side of the facade. There is a
decorative band at the top of the curved wall, of recessed bricks with projecting soldiers.
The projecting curved wing has a simple, horizontal metal balustrade set on a projecting
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concrete slab, creating a broad terrace accessed via a door with a decorative metal
screen. The front door, at the south-east corner of the house, appears to have a similar
metal screen.
Windows are a combination of fixed and casement timber windows, with a horizontal
band of glass block highlights on the curved corner (at first-floor level). The projecting
curved bay has a continuous curved picture window along its entire length, clearly
demonstrating the capabilities of steel framing.
There is a flat-roofed garage attached to the east side of the house, which appears to be
original. It retains double ledged timber doors. A later carport has been added to the
front.
While a small band of cream bricks are visible above the door to the first-floor terrace, the
rest of the walls have been bagged with cement slurry. It is likely that the majority of the
bricks are cream-coloured, but there may be clinker brick accents, like other AV Jennings
houses of this style and era.
The Moderne, or Streamlined Moderne, style was introduced to Australia in the 1920s via
the USA, but also shares some traits with European Modernism of the time, such as flat
roofs, corner windows (exhibiting steel's capabilities). It was first used for commercial
buildings, before being translated to residential buildings from the early 1930s. Moderne
buildings generally have asymmetric massing, strong horizontal lines sometimes
strengthened by a parapet and flat roof, ribbon windows, rounded corners and semicircular wings jutting out from the central mass. Many Australian designers compromised
the strong horizontals by including a hipped tiled roof, though the more avant-garde and
purist approach was to have a flat roof.
Stylistically, three houses included in the Schedule to the Boroondara Heritage Overlay
compare most closely with 7 Leura Grove.
The first is 15 Walbundry Avenue, Balwyn North, of 1936 (HO189). This two-storey,
rendered Moderne house has similar massing, with a curved corner to the two-storey part
of the facade, and a projecting curved single-storey section to the right, used as a
terrace. These two flat-roof, curved volumes are set in front of a more conservative,
hipped roof body of the house. Windows are modern, steel-framed with a porthole near
the front door. The house retains its low, rendered front fence.
The second is 2 Beatrice Street, Glen Iris, of 1941 (HO370). This two-storey cream-brick
Moderne house has an asymmetrical massing, parapeted walls concealing the flat roof,
projecting semi-circular bays at ground-floor level with terraces on their roof, and a flat
concrete hood above the windows. It is believed that the original windows have been
replaced by the current timber casements.
The third is 89 Studley Park Road, Kew, of 1940-41 (HO347). It is another two-storey
cream-brick Moderne house with asymmetrical massing, curved corners, particularly fine
steel windows with curved plate glass, etched-glass porthole windows, and a curved
projecting single-storey bay. The roof is hipped and tiled, but is largely hidden by a high
brick parapet.
7 Leura Grove compares well in its massing and detailing with the above examples. It
represents the purist end of the style, with a wholly flat roof. The windows lack the quality
of the curved steel-framed windows seen at 89 Studley Park Road. The bagging of the
face brick compromises its presentation, but this alteration is fairly simple to reverse (with
a careful acid wash).
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Further afield, the development of the Moderne style by Edward Guerney is seen at the
two 1930s AV Jennings estates in Ivanhoe: Beaumont and Beauview.
The Beaumont Estate of 1936-39 (Banyule, HO4) comprises houses in the Olde English
style of clinker brick, and Moderne in clinker, apricot and cream brick (one of these three
the dominant material with accents of the others). While most of the houses have pitched
roofs, a handful show more influence from International Modernism, with flat roofs hidden
by a parapet. The roofs were constructed of hollow-block reinforced concrete slabs.
Other indicators of this style include corner windows, curved balconies and glass blocks.
With their sculptural, three-dimensional form, these houses were given pride of place on
corner blocks (6, 17 and 25 Melcombe Avenue; no 17 was Edward Guerney's own
house). In comparison with the slightly later 7 Leura Grove, the Beaumont Estate houses
are far more severe and rectilinear. Only 6 Melcombe Road has small curve concrete
balconies.
At the Beauview Estate (Banyule HO91), construction began in 1939, and was halted by
the war. The house at 20 Beauview Parade shares with 7 Leura Grove a prominent
projecting curved bay with a terrace on top, while the roof is a combination of hipped and
flat sections (the face brick has also been given an unfortunate bagged finish). Other
houses have pitched roofs and are in a variety of styles.
AV Jennings also constructed houses for individual clients in the area, such as the house
at 4 Maltravers Road, Ivanhoe (City of Banyule, HO2) of 1939-40. It is a two-storey
cream-brick house with a clinker-brick base, with a flat roof, and a band of recessed
details along the top of the parapet. Also similar to 7 Leura Grove, it has a large curved
wall to one side of the facade.
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This is the first known house to be built by the AV Jennings Construction Company in the
City of Boroondara, and one of its last individual residential commissions prior to World
War Two. Founded in 1932 to provide high-quality brick houses at affordable prices, the
company began building individual houses but expanded into entire housing estates by
the mid-1930s. The company went on to have a significant presence in the area with the
Trentwood Estate in Balwyn North, and became Australia's largest private home builder
and the largest and most influential provider of house and land packages.
This was the first AV Jennings house built in the City.
Not applicable
The house at 7 Leura Grove is a representative and largely intact example of a Moderne
style two-storey residence of the late interwar period.
significance).
The house exhibits typical features of the Moderne style, including asymmetric massing,
rounded corners, strong horizontal lines strengthened by the parapet and steel railing to
the terrace, ribbon windows to the single-storey, semi-circular wing at the front, horizontal
bands of glass blocks, and a flat concrete roof.
Not applicable
significance).
Not applicable
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The design of the house is attributed to AV Jenning's in-house designer, Edgar Gurney.
Gurney designed in many popular styles of the interwar period, but a small number were
more avant-garde interpretations with flat roofs and complex massing, including his own
house at 17 Melcombe Road, Ivanhoe, as well as 7 Leura Grove.
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The cream-brick Moderne house at 7 Leura Grove, Hawthorn East, is significant to the
extent of its 1940 fabric. The house was constructed by developer AV Jennings for owner
Frank Norton, a professional photographer. The design is attributed to Jenning's in-house
designer, Edgar Gurney.
The front fence and the attached garage contribute to the significance of the place.
The carport is not of significance.
The house at 7 Leura Grove is of local historical and representative significance to the
City of Boroondara.
Historically, the house is significant as the first known house to be built by the AV
Jennings Construction Company in the City of Boroondara, and one of its last individual
residential commissions prior to World War Two. Founded in 1932 to provide high-quality
brick houses at affordable prices, the company began building individual houses but
expanded into entire housing estates by the mid-1930s. The company went on to have a
significant presence in the area with the Trentwood Estate in Balwyn North, and became
Australia's largest private home builder and the largest and most influential provider of
house and land packages. (Criterion A)
The house at 7 Leura Grove is a representative and largely intact example of a Moderne
style two-storey residence of the late interwar period. It exhibits the aesthetic
characteristics of this style, including asymmetric massing, rounded corners, strong
horizontal lines strengthened by the parapet and steel railing to the terrace, ribbon
windows to the single-storey, semi-circular wing at the front, horizontal bands of glass
blocks, and a flat concrete roof. While its presentation has been compromised by
bagging of the cream face bricks, its overall composition is still clearly legible. It is also
one of the small number of avant-garde Moderne houses built by AV Jennings in the
interwar period, and appears to be part of the oeuvre of Edgar Gurney, whose own house
in Ivanhoe was designed in this style. (Criteria D, H)
Tree Controls
Incorporated Plan
No
No
No
No
No
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notice and review?
No
No
No
Identified By
Built Heritage (2012), 'City of Boroondara Thematic Environmental History'.
References
Garden, Don (1992), Builders To The Nation, The A.V. Jennings Story, Melbourne.
National
Trust
citation
B7247,
'Beauville
Estate',
http://www.nationaltrust.org.au/vic/Home, January 2013.
viewed
online
at
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5 Eamon Court, Kew
Address: 5 Eamon Court, Kew
Name: House
Survey Date: 2012
Architect: Holgar and Holgar
Builder:
Photo
Historical Context
The house is located in Raheen Estate, which was named after the Victorian mansion
'Raheen' (1870; 1884), currently at 96 Studley Park Road, Kew and built for brewer
Edward Latham (Built Heritage 2010:13).
The Catholic Church subdivided and created Raheen Drive, Eamon Court and 36
residential lots, matching the current boundaries, with sales commencing in 1962 (LV:
V4269/F780). 'Raheen' was retained on a two acre allotment (Built Heritage 2010:13).
Built Heritage (2012:133) notes that the completion of subdivision in Studley Park
culminated in the creation of 'Raheen Estate' in 1960, consisting of Raheen Drive and
Eamon Court, Kew. It was the last large-scale estate to be created in Studley Park.
A newspaper reported that the 'subdivision [had] probably created more public interest
than any since the war' (Built Heritage 2010:13). The estate was praised for its wide
roadways, the underground electricity supply and each allotment's view of the river valley
(Built Heritage 2010:13). The estate also illustrated a lull in the local residential book, with
the construction of new houses across Melbourne badly affected by the Credit Squeeze
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of 1961-62, when only a few dwellings would be built on the estate during those years.
The estate filled-out by the late 1970s (Built Heritage 2012:133).
A very high percentage of houses within the estate were architect-designed in the 1960s
and 70s (Built Heritage 2010:13). Built Heritage (2010:14) further notes that the
architects and firms whose work is represented on the Raheen Estate include a broad
cross-section of Melbourne's post-war architectural community: some well-known firststring practitioners (eg. Charles Duncan, Neil Clerehan, Chancellor & Patrick), some
lesser-known but very talented designers (eg. Holgar & Holgar, Frank Steen, Murphy &
Alekna) and others who are better known for their pre-war work, (eg. Edward F Billson,
Plaisted & Warner).
As a result of the political instability in Europe in the early twentieth century, the interwar
and postwar era saw mass migration to Australia. In 1947 this migration was facilitated
when the Commonwealth Government revised its Anglocentric immigration policy,
following an agreement with the International Refugee Organisation. Within the current
City of Boroondara, Studley Park, Kew East and Balwyn North were suburbs developed
during the post-war era by European migrants who had successfully established
themselves in Melbourne and were then able to afford to build their own homes (Built
Heritage 2012:36).
The influx of European migrants continued in the 1950s and 1960s and included
architects who often designed houses for themselves and their compatriots. Migrant
architects who designed houses within the City of Boroondara include John and Helen
Holgar, Ernest Fooks, Ernest Milston, Leonas Baranasukas, Anatol Kagan, Kurt Elsner,
Laszlo Gutman, Grigore Hirsch and Klaus-Juergen Veltjens (Built Heritage 2012:36).
History
The land at 5 Eamon Court, Kew, was sold to Leon and Hanna Teperman in August 1964
(LV: V8551/F575). The existing house was designed in 1967 by Polish-born architects
Holgar & Holgar, for owner Leisir (Leon) Teperman, also a European migrant (Built
Heritage 2010:13). Hannah Teperman was the sole owner from 1989, before selling to
the Bartnickis in August 1991 (LV: V8551/575).
Holgar & Holgar, architects
The practice of Holgar and Holgar Architects was formed by Wladyslaw Aleksander
Januiz (John) Ptaszynski Holgar and his wife Helena Ptaszynska Holgar, who migrated
to Melbourne in 1952. At first the pair worked in a number of architectural firms, before
John began building up a private practice and Helen worked with Professor Brian Lewis,
the then Dean of the University of Melbourne's faculty of architecture. Helen worked with
Grounds, Romberg & Boyd before joining her husband's practice in 1958 (Anderson
2012:336).
Holgar & Holgar specialised in the residential housing sector from the 1960s to the
1980s, in many suburbs throughout Melbourne. The practice particularly designed large
houses in Toorak, Brighton, Caulfield and Templestowe; 34 houses were built in Toorak
alone. Helen Ptaszynska Holgar still lives in Eaglemont and recently published an
autobiography under the title, 'One lady: many lives' (Helen Ptaszynska Holgar pers.
comm. Oct 2010).
5 Eamon Court Kew is situated off Raheen Drive on a steeply sloping court. It is situated
towards the front of the allotment with a large garden behind the house. The house has a
low pitched butterfly roof with internal gutter. The front elevation comprises a windowless
panel of rendered masonry with chevron patterns incised. The spacious entry has a
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timber door set within a broader framework of glass panels with a terrace raised several
steps above the surrounding ground level. Upstairs is a return balcony with wrought iron
railing. The overall design is of a European expressionist style.
The front garden is planted with a number of plants of large foliage leaves either side of a
straight path to the front door.
The form of the house is a two storey cube and it utilizes the controlled composition of
wall plane contrasted with large areas of glass. Viewed from the street the house at 5
Eamon Court has a high integrity and is in good condition.
The Raheen Estate comprises a number of houses designed in the period 1960 -1980.
The houses vary substantially in their typologies and cannot be compared stylistically.
Research undertaken by Simon Reeves for the Thematic Environmental History on
individual properties in the Yarra Boulevard precinct and just outside its boundaries
(including the Raheen Estate), has identified more than 80 individual places for which the
architects have been confirmed, representing the work of over 40 different individuals or
firms. Such a high concentration of architects’ work is rare.
For first rank (or highly prominent architectural practices) assessment leans towards
innovative and seminal works rather than more mainstream, but for less well known
architects, such as Holgar and Holgar, intact representative examples of their work are
valued. Their output was highly varied and tended to the expressionist approach,
responding to site and conditions as well as individual client requirements.
There is no direct stylistic comparison between 5 Eamon Court and other modern houses
in the Kew area. However the house belongs to a period of development characterised
by strong architectural input into housing and there are many good examples of post war
architecture of diverse genres.
5 Eamon Court is a distinguished example of this period as an intact and unusual house
that demonstrates a distinctive expressionist design approach adopted by European
trained architects designing for European clients.
x
x
Other buildings in the Kew area of a similar period of construction and design
(conservative interwar domestic style) and with post war European connections,
but exhibits less architectural innovation than 5 Eamon Court include:22 Milfay
Avenue, Kew – former residence of German migrant artists Julius and Tina
Wentcher (Wentscher) and the Shipman House
9 Cascade Drive, Kew East (1947) – house designed by Anatol Kagan for an
Austrian émigré.
.
Other houses within the Raheen Estate built at the same period, including 7 Eamon
Court and 16 Raheen Drive, both by Murphy & Alekna (1966), are more conservative in
styling, and in the case of 7 Eamon Court, less intact.
Other houses designed in a similar period by European architects and deemed significant
include:
36 Stawell Street Kew - by Anatol Kagan in1952 (HO124). This house is one of the
most innovative examples of Kagan’s work and is one of the a finest examples of
European functionalism in Boroondara.
29 Holroyd Avenue in Kew designed by Anatol Kagan in 1958 has been noted as
significant in the Yarra Boulevard Precinct, as has 31 Holroyd Street by Kurt Elsner in
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1961. 5 Eamon Court is deemed to be of equivalent architectural design and integrity to
these places.
5 Eamon Court, located in the Raheen Estate which was originally developed by the
Catholic Church, and the last large scale estate to be created in Studley Park, is an
excellent example of residential development designed and built by and for European
emigres.
Not applicable
Not applicable
Not applicable
significance).
5 Eamon Court is an intact example of the work of architectural practice Holgar and
Holgar who specialised in the residential housing sector from the 1960s to the 1980s
throughout Melbourne. Often associated with large houses for European emigres, 5
Eamon Court is a representative and intact example of their output which is notable for
its expressionist style.
5 Eamon Court demonstrates some of then modern design principles of a low pitched
butterfly roof, light filled entry and outdoor terraces at ground and first floor level. A
distinctive and unusual feature of this house is the rendered masonry wall surfaces
decorated with incised chevron patterns. 5 Eamon Court has a high degree of external
integrity.
Not applicable
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significance).
Not applicable
Not applicable
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City of Boroondara
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The house at 5 Eamon Court, Kew designed by architects Holgar and Holgar and built for
Leon Teperman in 1967 is significant.
5 Eamon Court is of local architectural and historical significance to the City of
Boroondara.
5 Eamon Court, located in the Raheen Estate which was originally developed by the
Catholic Church, and the last large scale estate to be created in Studley Park, is an
excellent example of residential development designed and built by and for European
emigres.
5 Eamon Court is an intact example of the work of architectural practice Holgar and
Holgar who specialised in the residential housing sector from the 1960s to the 1980s
throughout Melbourne. Often associated with large houses for European emigres, 5
Eamon Court is a modest design when compared other examples of their work.
5 Eamon Court demonstrates some of then modern design principles of a low pitched
butterfly roof, light filled entry and outdoor terraces at ground and first floor level. A
distinctive and unusual feature of this house is the rendered masonry wall surfaces
decorated with incised chevron patterns. 5 Eamon Court has a high degree of external
integrity when compared with other houses on the Raheen Estate.
Planning Scheme as an Individually significant place.
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
No
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Identified By
Simon Reeves, City of Boroodara Thematic Environmental History
References
Anderson, Catriona (2012), 'Holgar & Holgar', in Philip Goad and Julie Willis' (eds), The
Encyclopedia of Austalian Architecture, Cambridge.
Built Heritage (2010), 'City of Boroondara, Assessment of Heritage Precincts in Kew',
prepared for Studley Park Modern.
Helen Ptaszynska Holgar pers. comm. Oct 2010, as viewed in Context Pty Ltd's history in
Hermes record No 120582.
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Shops and Offices
Address: 1363 Burke Road, Kew
Name: Shops and office
Architect: John R. Tovey
Builder:
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Historical Context
Suburban shopping centre at Kew East
The development of the retail centre at Kew East was strongly influenced by the vagaries
of public transport networks. A branch rail line to Kew (1887) and the Outer Circle line
running from Ashburton to Alphington via Balwyn and Kew East (1891) were not
particularly successful and their respective closures in 1952 and 1926 curtailed
settlement in those areas until the establishment of an electric tram network in the 1910s.
Kew East started to develop key institutions and shops throughout the 1920s, however
the commercial centre developed an effort to keep up with the burgeoning car-based
retail culture. New shops erected in established retail strips in the 1950s were often
designed along modern lines, with large plate-glass windows, prominent signage and
deliberately eye catching architectural forms to attract the attention of passersby.
John R. Tovey, architect
Little is known of architect John Richard Tovey. In the late 1940s, Tovey briefly entered
into a partnership with architect Robert G Warren, until it was dissolved in 1949. Their
office was located at 309 Spring Street Melbourne (Built Heritage website; Argus 17 Aug
1949:12). An article in 1955 noted that architect John R Tovey (ARAIA, ARVIA) had his
office at 42 Toorak Road, South Yarra. Tovey was calling for tenders 'on behalf of the
committee of the Stock Exchange of Melbourne for alterations and additions to existing
building at Lit. Collins St., Melbourne' (Argus 22 April 1955:11).
History
In January 1938, Stanley Morrison, a chemist of Hawthorn, purchased the recently
subdivided lot, located on the corner of Burke and Harp roads; the extent matched the
current boundaries of 1363 Burke Road (lot 1, Crown Portion 84, Parish of Boroondara).
From this date the lot had a number of owners with various occupations. Owners
included: Gerald Thomas, shipping clerk from 1944; Raymond Wootton, dentist, from
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
1949; and Leslie Woolley, dentist, from 1951 (LV: V6174/647). As Kew experienced a
boom in residential subdivision between 1910 and 1940 (Built Heritage 2012:128), it is
likely that a building occupied the site at the corner of Burke and Harp roads, during this
period.
In January 1952, 1363 Burke Road was purchased by Richard, Douglas and Francis
Buxton, estate agents of 443 Collins Street, Melbourne (LV: V6174/647). JR Buxton and
Co (later Pty Ltd) was located at 443 Collins Street from at least the 1920s (Argus 3
March 1928:24; 21 April 1934:17). John Robert Buxton founded the company in 1861,
opening an office in South Melbourne (Buxton website).
The titles indicate that Raymond Maintenance Building Company Pty Ltd are noted on
the titles as the owners from September 1953 (not noted as a mortgage) (LV:
V6174/647). The shops and offices at 1363 Burke Road, Kew East were built in 1954 and
designed by architect John R Tovey (Built Heritage 2012:102).
Newspaper articles in 1956 indicate that offices of J. R. Buxton Pty Ltd were located at
the corner of Burke and Harp roads, East Kew, at this date. In 1956, J R Buxton had
offices in East Kew, Box Hill and Melbourne (Argus 24 Aug 1956:14; 12 Dec 1956:17; 4
April 1956:13). This suggests that 1363 Burke Road served as an additional Buxton real
estate agency.
Subsequent owners of 1363 Burke Road included Serge Kunstler, a medical practitioner,
from 1962 to 1985 (LV: V6174/647). In 2013, the building serves as three separate
shops.
The commercial premises at the corner of Burke Road and Harp Road in the local
shopping centre of Kew East, occupies a prominent corner site. It comprises a long
narrow building built to the boundary lines with monopitch roofing. Although most of the
building is of cream brick with a base course of brown brick, the facing cladding around
the front door is of colourful Castlemaine slate that makes a highly decorative entry. The
windows are of simple anodised metal framing and the timber framed door and sidelight
appear to be original. The side elevation has particular attention paid to the window
design that utilises bands of highlight windows at ceiling level and a group of six square
windows form an unusual feature. This is complemented by a pair of square windows
places at eye level adjacent to the entry.
A cantilevered verandah wraps around the entry area with an angled corner and extends
along Harp Road in stepped form. The building is quite intact apart from some window
changes to the Harp Road elevation and the advertising signs on the fascia of the
verandah. The entry is given dramatic effect by the roof lines of the monopitch roof as
they follow the recessed corner.
Three modern commercial premises are noted in the City of Boroondara Thematic
Environmental History.
A former carpet showroom, now Cash Converters at 1360 Toorak Road, Burwood (1960)
is a striking modern building designed by architect John Ahern and an outstanding
example of modern commercial architecture. It also has a high degree of integrity.
A modern supermarket at 1424 Toorak Road, Camberwell (c.1955) is less innovative
than 1360 Toorak Road and also less intact than 1363 Burke Road.
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
A row of modest shops at 57 Canterbury Road, Canterbury (c.1963) – that display typical
skillion-roofs and glass-walled frontages are directly comparable to 1363 Burke Road,
however the latter is a more arresting composition.
Post war commercial places are not well represented in the heritage schedule to
Boroondara and 1363 Burke Road, Kew is an excellent example of this genre.
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
1363 Burke Road is an excellent example of 1950s commercial premises and is a
landmark building within the local shopping centre of Kew East. It represents the new
modern retail culture of the 1950s.
Not applicable
Not applicable
Not applicable
significance).
Designed with a monopitch roof, cantilevered, splayed verandah and a highly decorative
entry of Castlemaine slate cladding, the building is an unusually intact and fine example
of 1950s commercial architecture. Also of note are the anodised window frames
designed in a combination of large glazing and small square window boxes, and the
timber framed doors.
Not applicable
significance).
Not applicable
Not applicable
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
The commercial building at 1363 Burke Road Kew East designed by architect John
Tovey in 1954 is significant.
1363 Burke Road is of local historic and architectural significance to the City of
Boroondara.
1363 Burke Road is an excellent example of 1950s commercial premises and is a
landmark building within the local shopping centre of Kew East. It represents the new
modern retail culture of the 1950s.
Designed with a monopitch roof, cantilevered, splayed verandah and a highly decorative
entry clad with Castlemaine slate cladding, the building is an unusually intact and fine
example of 1950s commercial architecture.
Also of note are the anodised window
frames designed in a combination of large glazing and small square window boxes, and
the timber framed doors.
Tree Controls
Incorporated Plan
notice and review?
No
No
No
No
No
No
No
No
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
Identified By
Built Heritage, ‘City of Boroondara Thematic Environmental History’, 2012.
References
Built Heritage website, 'Dictionary of unsung architects: Robert G Warren (1920-2002)',
http://www.builtheritage.com.au/, accessed April 2013.
Buxton, '152 years', http://www.buxton.com.au/, accessed April 2013.
State Library of Victoria (SLV) online.
The Argus.
________________________________________________________________________
City of Boroondara
14/11/13
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GRANGE AVENUE RESIDENTIAL PRECINCT
Address: 2-10 Grange Avenue, Canterbury
Name: Grange Avenue Residential Precinct
Builder: Albert Vanselow
Property No:
Survey Date: 10/08/2012
Architect: Arthur E. Bidgway
Historical Context
Settlement began in the Boroondara area in 1836, one year after Melbourne was
founded, when cattle were first driven through by John Gardiner, John Hepburn and
Joseph Hawdon (RBA 206:5-9; Built Heritage 2012:13-15).
People were able to obtain land in the Port Phillip District of New South Wales (now
Victoria) at this early date via Crown grants and Special Surveys. The latter enabled
English purchasers to buy 8 square miles of land (5,120 acres) for £5,120 at £1 per acre.
Within Victoria there were only 8 or 9 surveys selected. One of the purchasers was Henry
Elgar, a merchant, whose Special Survey consisted of land in what is now Boroondara
and Nunawading (Hanslow, PPPG).
The first form of local government was established in the area in 1854, when the
Boroondara Road District was proclaimed. The Shire of Boroondara was formed in 1871
and by this date the immediate area included Boroondara State School (1869) and was
soon to have its first church, St Barnabas on Balwyn Road (1872). Three early houses
that existed on Balwyn Road at this date were 'Heathfield' (formerly 21 Balwyn Road),
'Shrublands' (both owned by Ernst Carter, the major land-holder in the area) and 'The
Grange', a single storey villa (demolished). The train line was extended to Canterbury in
1882, which ushered in a period of subdivision, including in the Balwyn Road area.
Development continued at a steady pace and the shire changed names a number of
times before it became the City of Camberwell in 1914 (RBA 206:5-9; Built Heritage
2012:13-15).
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
From 1915, 'The Grange' holdings, also known as the Grange Estate, began to be
subdivided. This included the land that would become Grange Avenue and View Street
(RBA 206:5-9). View Street was created by a separate subdivision. The Grange was
surveyed by local surveyor, Harry Parsons in 1915. Apparently, development was to
begin at an earlier date, but was delayed due to World War I (McConville, 1991, vol 3,
precinct 22.05).
Prior to this period, there was little subdivision in what was then the Town of Camberwell.
Maps from the 1890s and the first decade of the twentieth century show sparse
development, indicating that ‘much of the Town of Camberwell (as it was then) was still
ripe for subdivision and development at the turn of the century’ (Built Heritage 2012:
128). The Boroondara Thematic Environmental History goes on to say that:
Ultimately, it was the twentieth century residential expansion across much of the City
of Camberwell (namely, the suburbs of Camberwell proper, Canterbury, Glen Iris and
Balwyn) that brought the municipality its reputation as the quintessential middle-class
inter-war residential area …
McConville notes that the majority of homes constructed in the first two decades of the
20th century (1901-21) in the former City of Camberwell were of timber construction, with
a few 'wonderful brick villas'. By 1920 the bungalow had appeared, as evident in 2-10
Grange Avenue, Canterbury, followed by houses in Tudor and Spanish Mission styles.
These styles demonstrate a major growth period of the area during the interwar period
(McConville 1991, Vol 2:17-19, 116; vol 3: precinct 25.02).
By the end of the 1920s, Canterbury was dominated by large brick houses owned by
white-collar professionals. Canterbury has maintained its high social status, as
exemplified by high real estate prices and areas that were mainly developed after World
War I, such as the commercial precinct on Maling Road and the 'Golden Mile', consisting
of Mont Albert Road (west of Balwyn Road) and the avenues towards Canterbury Road,
such as Monomeath and Grange avenues (Canterbury History Group).
History
Francis Rennick, Chief Engineer, and later Commissioner of Victoria Railway, purchased
9.5 acres on the south-west corner of Balwyn and Mont Albert roads in 1865, upon which
he had built 'The Grange' at what is now 162-4 Mont Albert Road c1876 (since
demolished) (Argus, 27 Mar 1915:16; Built Heritage 2012:127; RBA, 33 Balwyn Road
place citation).
In January 1915, sisters Florence and Ida Rennick of 'The Grange', presumably his
daughters, became the owners of just over six acres (6 acres, 1 rood, 2 perches) bound
by Balwyn Road to the east, which was originally part of Elgar's Special Survey. The
Rennick's subdivided this land to create Grange Avenue, and a majority of the Grange
Avenue lots (excluding 12 & 14 and including the current 31-35 Balwyn Road) (Title
3860/971). The subdivision plan dates to 1915 (below). In order of sale: in June 1916
number 6 Grange Ave was sold to William James Fowles; 10 Grange Avenue was sold to
Ada Victoria Vanselow in March 1917, 2 Grange Ave was sold to Walton Scott Finlason
in May 1919, 8 Grange Ave was sold to Laura Margaret White in July 1919, and 4
Grange Ave was sold to Edna Vera White in August 1919 (Title 3860/971).
Builder Albert Vanselow, the original owner and occupier of 10 Grange Avenue, is
believed to have constructed all five houses (Robin Kentley, pers. comm. 20 Aug 2012).
As documentary evidence confirms that Vanselow was the builder for to numbers 2, 4, 6
and 8 Grange Avenue (PSPs and Buildng Permits), it is highly likely that he was also the
builder for his own house, which shares so many stylistic and material palette similarities
with the others. Vanselow also had connections to the Rennicks of The Grange, as the
1919 property sewerage plan (PSP) notes that the agent was Albert Vanselow of 'The
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Grange', Mount Albert Road, Canterbury (PSP 114228). The ‘agent’ for connecting a
building to sewerage was usually the builder or architect.
Numbers 2 and 4 Grange Avenue were both purchased by the White family and
remained within the extended family to the 21st century.
Subdivision plan of Grange Avenue, dated 1915.
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2 Grange Avenue, Canterbury
Property Sewerage Plan (1921)
Number 2 Grange Avenue, was purchased by Walton A Finalson, electrical engineer in
May 1919, who sold it on to Margaret White in May 1920. The property sewerage plan
(PSP 119692) for the property indicates that the house was built in 1921 for Mrs M. A.
White (the year is missing from the first plan, but the second plan shows the date 1921;
neither shows the agent). The identity of the builder, A Vanselow, is confirmed by the City
of Camberwell Building Register (held at the Camberwell Library), which records a
building permit granted on 3 September 1920 for a 7-room brick and tile-roofed 1.5storey house and a shed to be built on the north side of Grange Road [sic] for a W White
[name barely legible] at a cost of 1,500 pounds (Permit No 1139, 03/09/1920).
The original drawings for the house (provided by the current owner, Karen Limb) note
that the brick villa was built for Mr M. White, of Camperdown, and was designed by
architect Arthur E. Bidgway of Balwyn Road, Canterbury. The drawings are dated
September 1921.
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Plans and elevations of 2 Grange Avenue by architect Arthur Bidgway, dated Sept. 1921
In 1947, upon the death of Margaret, probate was granted to Mathew White, Edna Vera
Faragher (of 2 Grange Avenue, widow) and Laura Margaret de Melnotte. In October
1956 Laura Margaret White (nee de Melnotte), teacher, and Edna Vera Faragher, who
both lived in the house, became the owners. In February 1961, Richard I Faragher,
medical practitioner, also appears on the titles. After Edna's death, the house passed to
Richard I Faragher (who now lived on Nicholson Street) and Brian S Faragher of 4
Grange Avenue. In September 1978, Laura Margaret White also became a part owner of
the house at 2 Grange Avenue, yet in November of the same year, Brian S Faragher
became the sole owner. In November 1985, owners in equal shares were Brian S
Faragher, Glenys Faragher and Clair Faragher (all three occupying the house), Lynn
Smith and Richard Faragher. It passed out of the Faragher family in 1991 (Title
4242/288).
The house is called 'Werona', believe to have been named by the Faragher family at 4
Grange Avenue, who were related by marriage to the first owners of 2 Grange Avenue
(Karen Limb, pers. comm., 20 Aug 2012).
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Number 4 Grange Avenue was owned by Edna Vera White, spinster, from August 1919.
The PSP (114771) indicates that the house was built for Mrs E.V. White in 1919 and the
agent is recorded as Albert Vanselow of Mont Albert Road, Canterbury, who would have
been the builder. Considering the dimensions of the block, the building permit appears to
have been granted to Miss White's fiancé, R Faragher, with the builder noted as A
Vanselow. The permit was for a 7-room, 1.5-storey brick and tile dwelling, on a 85' x 148'
block, at a cost of 1,060 pounds (City of Camberwell Building Register, Permit No 315,
12/09/1919).
Edna married R Faragher, before being widowed by 1947. Also from this date, Edna
became part owner of number 2 Grange Avenue, as noted in the titles of that property
(Title 4234/678).
The garage was constructed by builder RB Barnes in 1928, for R Faragher (Edna's
husband) (Building Permit Reg. 2460, 21/02/1928). In August 1969, a rumpus room was
added to the house (permit record), the PSP indicates that this was the single-storey
wing on the east side of the house (PSP 114771).
In October 1970 the house at 4 Grange Avenue passed to Brian S Faragher and Pamela
Faragher, both medical practitioners, who owned and lived at 4 Grange Avenue. The
house remained in the Faragher family until 2012 (Title 4234/678).
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Number 6 Grange Avenue was purchased by builder William James Fowler in June
1916. In March 1919, the land was sold to Walton Neil McKellar, a manager of 513
Flinders Street, Melbourne (business unknown). The house was built for McKellar in
1919. The agent was Albert Vanselow, of 'The Grange', Mount Albert Road, Canterbury
(PSP 114228), indicating that he was the builder. This is confirmed by the City of
Camberwell Building Register, in which a building permit was granted to builder A
Vanselow for owner McKellar to construct a 6-room, 1.5-storey dwelling of brick and tile
for 1,100 pounds (Permit No 122, 08/04/1919)
McKellar remained in the house for a number of decades. Upon his death probate was
granted to Neil McKellar, 'manager' and Herbert J S Rayment, optical dispenser of 4
Grange Avenue, in July 1957. Soon after, in October 1958, Elizabeth S McKellar, widow,
who occupied 5 Grange Avenue, became the owner. McKellar sold to Alexander Mitchell,
agricultural scientist, and his wife Joyce, in June 1959 (Title 8975/902). A fibro-cement
garage was constructed in 1938 by builder FC Johnson for WN McKeller (permit record).
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Number 8 Grange Avenue was sold to Laura Margaret White in July 1919. A building
permit was granted on 25 January 1921 for an 8-room brick and tile-roofed 1.5-storey
house and a shed to be constructed by A Vanselow for Miss L White at a cost of 1,300
pounds (City of Camberwell Building Register, Permit No 1355, 25/01/1921).
Laura Margaret White was the headmistress at both Canterbury Girls Grammar and the
Brighton Campus of the Methodist Ladies' College. A commemorative pond is located at
the Brighton Campus in honour of White. It has also been suggested that White was
instrumental in saving the Dig Tree. The Dig Tree is a national icon and reminder of the
country's pioneers. It is a 200-250 year old Coolibah (Eucalyptus microtha) located on the
Northern bank of Coopers Creek, near Innamincka in north-east South Australia. The
tree is related to early explorers, Burke and Wills, whose exploratory south-north crossing
expedition was sponsored by the Government of Victoria. Provisions were left near the
tree for the Burke and Wills team, and instructions on where to dig for the stash was
carved into the tree, hence the name (ABC News; Bulloo Shire Council). In the early
twentieth century, White periodically took school children to visit the area, and upon one
visit discovered that the tree was at risk of being removed by the local pastoralists, due to
a termite infestation. White returned to the Dig Tree with a team of specialists to assess
the tree, which resulted in its survival (Mark Williams, pers. comm., 20 Aug 2012).
Upon White's death in 1922, the property was passed to Ada Victoria Vanselow, of 10
Grange Avenue, who sold it to Harold A Fisher, Russell Street, Melbourne merchant, in
July 1923.
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Fisher lived there for a number of years. He commissioned 'attic additions' in 1930, which
were constructed by builder R. Barnes (Building Permit Reg. 1743, 16/06/1930). This is
believed to be the large dormer on the front of the roof, which has matching details to the
rest of the house.
After Fisher's death in 1940, the land passed to his widow Hilda Fisher of 'Dalkuth',
Grange Avenue, in June 1941. In February 1953, Fisher sold the house to Walter L
Steele, retailer, and his wife Eileen, who erected the garage in 1963 (permit record); this
may be the double garage at the rear which imitates many features of the house. That
same year a bathroom was installed on the first floor (PSP 120255). Kevin G Walton,
pharmaceutical chemist, and his wife Beverley became the owners in July 1965 (Title
4234/679). The Waltons had a single-storey extension constructed, set back on the east
side of the house, in 1972 (PSP 120255).
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Number 10 Grange Avenue was sold to Ada Victoria Vanselow in March 1917 and the
house was built in 1919 (PSP 112020). Ada Victoria nee Tyrell had married Albert
Herman Wills Vanselow in 1906 (BDM Reg. 7034/1906).
The current owner believes that Albert Vanselow built 10 Grange Avenue as his own
residence (Robin Kentley, pers. comm., 20 Aug 2012). The name of the ‘agent’ is missing
from the scanned Property Sewerage Plan for 10 Grange Avenue (PSP 112020).
Vanselow appeared as the agent on the property sewerage files for numbers 4 and 6
Grange Avenue when they were constructed, and the City of Camberwell Building Permit
records confirm that he also built numbers 2 and 6. The use of similar materials and
details of number 10 suggest that the architect or builder of this house was the same as
the rest of the row, and it would follow the typical development pattern of a builder
constructing his house first and then the remainder in a row.
The only reference to Vanselow that was found in contemporary newspapers was in
regard to an A. H. Vanselow, builder and timber and hardware merchant, working in
Camperdown in the 1930s, who constructed St Paul's kindergarten school hall in 1937
(Camperdown Chronicle, 23 Jan 1934:7; 4 Jan 1938:3; 17 Apr 1937:2; 20 Oct 1931:1).
The house remained in the Vanselow family until July 1971 (Title 3860/971; 4027/203). ).
A garage was constructed at the rear c1960s (certainly prior to 1978; Pers. Comm.,
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Robin Kentley, 12 Sept 2012). At some point the enclosed veranda in the front minor
gable was in-filled with windows. Further additions and alterations were also carried out
in January 1989 (permit record), none of which are visible from the public domain.
Arthur E. Bidgway, architect
Considering the similarities in form of Nos 4-10, with the use of repeating elements such
as bow windows (bay windows with a curved plan), gable treatment and shaped timber
shingles, as well as the use of similar details with No 2 – the chimneys, front door and
pattern of verandah floor tessellated tiles – it would appear that all five houses were
designed by the same person. Arthur Bidgway is documented as having designed No 2,
and as it was built second to last in the row, it is likely that he designed all of them, and
all were constructed to his designs by Albert Vanselow. (It is also possible, but less
probable, that Vanselow was the craftsman-builder of the first three houses in 1919, and
then Bidgway designed No 2 to blend in with them.)
Bidgway lived and had his architectural office at 325 Nott Street, Port Melbourne, around
the turn of the century and carried out many residential commissions in Port Melbourne in
the 1890s and first two decades of the twentieth century. In that suburb he was
responsible for a large number of the more substantial homes in this period. Examples of
his Port Melbourne designs include houses at 200 Graham Street (1899), 119 Clark
Street (1899), 101 Spring Street (c1899) and 336 Princes Street, Port Melbourne (19156). Bidgway also designed the Jubilee Memorial Hall, Port Melbourne (1908) (Argus, 27
Feb 1908:8).
His early houses outside of Port Melbourne include those at 35 Victoria Road,
Camberwell (1898, contributory in HO159) and 20 Sandham, Elsternwick (1899)
(Schmeder, 2005). Bidgway’s houses of this period, which fall into the Italianate Victorian
and Federation styles, are characterised by decorative motifs that make them identifiable
as his work. The most common shared design element is the chimney, combining a
smooth rendered base, a red-brick shaft and a top made of a combination of render
mouldings, bands of roughcast and fluted sections (straight or tapered). Other features
that many houses had in common were cast-cement cornice friezes with a sunflower
motif (popularised by the Aesthetic Movement), and coved and fluted render cornices on
others, and an Islamic horseshoe verandah bracket to his later houses.
In 1912 Bidgway moved to 7 Balwyn Road, Canterbury, just around the corner from
Grange Avenue. It was a timber house with a tiled roof, constructed by E Moller for him,
presumably to his design (RBA, 2006: place citation). He ran his architectural practice
there in 1921, as noted on the drawings for 2 Grange Avenue. The house at 7 Balwyn
Road was demolished in the 1970s.
While later in date and style than his Port Melbourne houses, the Grange Avenue houses
also exhibit his characteristic use of key repeating motifs on individually designed
houses. This includes the use of very similar chimneys on Nos 4, 6 and 10, identical
shaped timber shingles above roughcast render to the gables of all houses in the row,
and an identical highwaisted door and sidelight to No 10.
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The houses at 2-10 Grange Avenue occupy the majority of the north side of Grange
Avenue, which is located between Balwyn Road and Hopetoun Avenue. The street is
entirely residential and modest in width. Both sides are planted with mature Plane trees
on the generous nature strips. While the limbs of the trees on the south side have been
lopped to allow for power lines, those on the north side are intact.
The five houses sit on blocks of equal width that allow for generous front gardens and
side setbacks. The blocks at Nos. 2, 8 and 10 are slightly deeper than the middle two.
All of the houses are characterized by their complex gable roofs with an attic storey, and
are of a similar scale, materials and front setback. Nos 2, 8 and 10 retain their wide,
curved front paths, some with original brick edging (Pers. Comm., Robin Kentley, 21
Sept. 2012). All have a steeply pitched transverse gable roof (parallel to the street) and
dominant projecting front gable, which often shelters the entry. Stylistically they can be
called Arts & Crafts attic-style bungalows, some with a California Bungalow influence.
Arts & Crafts Bungalows were British in inspiration and often had high-pitched roofs
(often with an attic storey), and a deep masonry arch or square piers (sometimes
buttressed) to the porch. This contrasted with the California Bungalow style which was
characterised by low pitched roofs with spreading eaves, pergola details and tapered
piers as verandah supports. Typical of both these styles, the houses have Art Nouveau
decorative motifs seen in the leadlight windows.
All of the houses have high-pitched gabled roofs covered in terracotta Marseille tiles with
exposed rafter ends, red brick walls with render accents (particularly roughcast render in
the gables), leadlights to highlight windows and front doors, and distinctively shaped
timber shingles (with curved corners) at the apex of all of the gables (front and side).
Other features the houses share are bow windows (bay windows with a curved plan),
often in pairs, and slender red brick chimneys with a band of roughcast render at the top
below a projecting cap. The chimneys vary slightly among themselves, with projecting
brick accents just below the cap at Nos.2 and 4 (though the cap has been removed from
No 2), or in the middle of the rough cast band at No 6, and a taper to the roughcast
section at No 10 (note that the front chimney to No 8 was removed when the attic dormer
was constructed in 1930). Front door designs are also shared by some of the houses.
Nos 2 and 10 have identical highwaisted doors and matching sidelights and highlights
with a segmentally arched window above a decorative apron, and a ledged lower panel.
Only the Art Nouveau leadlight designs differ. Another pair of identical doors are seen at
Nos. 4 and 8: a ledged and framed door with a dramatic quarter-circle glazing, with very
wide sidelights above ledging, and three highlights. Again, the Art Nouveau glazing
differs. The door to No 6 was not visible from the public domain. Reportedly original
tessellated tile floors, in identical patterns, survive on the front verandahs of Nos 2, 4, 8
and 10 (Pers. Comm., Robin Kentley, 21 Sept. 2012).
While united by their shared features, materials, massing and front setback, each house
has an individually designed façade which can be described as a variation on a theme.
Features of note include:
-
No 2 has a very wide, round-arched brick opening to the front verandah flanked
by stepped buttresses. The verandah wraps around the east side elevation, and
is supported on elongated brick piers with rendered pylons at the top (typical of
the California Bungalow style). There is a large gabled dormer window which sits
above a hipped breakfront. The attic gable is reflected in a smaller gable roof,
filled with shaped timber shingles, to a curved window bay. The window bay and
other ground floor windows to the façade are casements, most with highlights,
filled with diamond and floral patterned leadlights. This house has a somewhat
higher level of detail and finishes than the others in the row, particularly seen in
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the complex massing of the front gable, the gabled 'roof' above the front bay
window, and the fine brickwork of the arched brick porch entry.
The picket fence is noted as original in McConville (1991: Precinct 25.02). It has
curved-top pickets in two sizes, alternating between three large and three small.
A nearly identical fence is seen at No 6.
Apart from the addition of a Federation-style window hood to the attic window on
the west side and the removal of the chimney caps, no external alterations are
noted.
-
No 4 has buttressed brick piers supporting the verandah gable, and a brick
balustrade with bullnose bricks along the top and a pierced diamond pattern. It
has two wide bow windows to the façade comprising four and five sash windows
with leadlight highlights. The roughcast render of the chimney has never been
painted. The 1928 garage at the rear is a modest weatherboard structure with a
tiled roof. It retains its ledged timber doors.
Alterations to the house include an extension to the east side of 1969. It is set
well back from the façade and designed in a sympathetic manner, with a tiled
gable roof and red brick walls. The flat roof carport in front of it is intrusive, but its
installation has not required any alterations to the building fabric (apart from fixing
points for the roof), so should be reversible.
-
No 6 has a strong front attic gable which stretches across most of the façade and
is nearly as large as the main gable of the roof, giving the house a cruciform plan.
The entrance is tucked under the east side of the house, and the verandah area
is supported on high brick piers with tapered rendered pylons on top (typical of
the California Bungalow style, like those at No 2). The two bow windows of the
facade sit below a long tiled hood, and have double hung sashes with leadlights
to the upper sashes and the highlights.
There is a timber picket front fence which appears to be original to the house (as
noted in McConville, 1991: Precinct 25.02), comprising curved-top pickets in two
sizes, alternating between three large and three small.
No external alterations were noted.
-
No 8 has a large, projecting front gable which shelters the front verandah and
one of two bow windows to the façade. The verandah supports are brick piers
with rendered flat arches above. The leadlights use diamond panes (as seen at
No 2) with Art Nouveau floral designs. Box windows are used to the attic level, as
at Nos 2 and 10.
There is a large gabled dormer to the left of the verandah gable, whose
construction in 1930 required the removal of the front chimney. It appears to have
been modeled after the original dormer at No 4 in form and detail, though in a
larger version.
A single-storey, gabled brick extension has been added at the rear of the house.
It projects out on the east side of the site and is visible from the street, but is
recessive.
-
No 10 has a cruciform plan of 1.5-storey gables, with another projecting gable set
to the left side of the façade. It shelters the front verandah, which rests on two
larger round arches (finished in smooth render with a keystone). There is a large
bow window beside the verandah with leadlight highlights, set below a tiled hood.
The only external alteration noted is the infilling of the former enclosed verandah
in the front gable with windows.
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Within the City of Boroondara, the Grange Road Precinct compares most closely to the
Lower Burke Road Precinct, Glen Iris (HO154). This precinct comprises a row of eight
interwar houses on the west side of Burke Road, between McDonald and Rix streets,
with Faircroft Avenue intersecting them. They number 395 to 417 Burke Road.
The row is part of a larger subdivision, presumably interwar in date, which extended to
the north and south sides of Faircroft Street, the south side of Rix Street, and Parkin
Street between Faircroft and Rix streets, about 65 house blocks in all.
The block at 395 Burke Road comprises the equivalent of three house blocks in the
subdivision, giving it a very generous setting, though the scale of the house is similar to
the rest in the precinct.
Research has not been carried out into the date or builder of the eight houses (Hawthorn
Heritage Study, 1993), but they were built with a consistent setback, scale and style in
the 1930s (quite possibly by a single builder). The houses have generous front yards set
behind low rendered brick front fences. The houses are single-storey with dominant hip
roofs, with the exception of No 415, which has an attic storey and jerkin-head roof form.
All have rendered walls and tile-clad roofs. They are Mediterranean Revival and Spanish
Mission in style, both popular during the late 1920s and 1930s. They have an overall high
level of intactness.
The 1993 Study found the precinct to be of significance as being Hawthorn's most intact
group of interwar houses, adopting a variety of styles, many of which retain associated
fences and gardens. The prominent and slightly elevated siting of the houses was also
considered of interest.
The Grange Road Precinct is similar in comprising a compact and very consistent row of
interwar houses, which are highly intact and of high architectural quality. Like HO154, the
Grange Road houses have consistent setbacks, lot widths, scale, roof forms, style (Arts
& Crafts Attic bungalow), materials and details. While only two of the Grange Road
houses have retained their original front fences, they are more substantial and have more
accomplished massing and detailing (in keeping with the work of an architect or
craftsman-builder).
Within the suburb of Canterbury, the Grange Road Precinct can be compared to
Hassett's Estate, Canterbury & Camberwell (HO191). This is a much larger precinct,
comprising Hassett Avenue, Catherine, Quantock, Cooba, Maysia and Alta streets. It is
of heritage significance as: 1) one of the outstanding subdivisions in the former City of
Camberwell in the 1920s which inspired much of the later built form, subdivision patterns
and street design within the former City of Camberwell; and 2) a particularly intact and
notable collection of the prevailing house styles of the 1920s to early 1940s, with an
emphasis on the interwar Mediterranean architectural style, and containing also a series
of advanced Moderne designs (Camberwell Urban Conservation Study, 1991).
Land sales took place in 1924 and 1927, so the original housing stock is later in period
and thus style than the Grange Road houses. Styles represented in HO191 are Indian
Bungalow, California Bungalow, Mediterranean, Spanish Mission, Old English, Italian
villas and Moderne. As is suggested by the wide range of styles, the development in
HO191 is quite varied in appearance.
The Grange Road Precinct also has a highly intact group of interwar houses, but they
illustrate and earlier style (Arts & Crafts bungalow) and are distinguished by their
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architectural consistency. The Grange Road houses are also more substantial than the
houses in HO191, and show more accomplished architectural design and detailing.
In contrast, the Grange Road subdivision is not considered a model subdivision within the
area, rather a typical small-scale subdivision seen in the piecemeal break-up of the
Victorian mansion estates.
Criteria adopted by the Heritage Council on 7 August 2008 pursuant to Sections 8(1)(c)
and 8(2) of the Heritage Act 1995, modified for the local context.
CRITERION A: Importance to the course, or pattern, of the City of Boroondara's
cultural history.
The row of house at 2-10 Grange Avenue exemplifies the high-quality, middle-class
residential development that characterised the former City of Camberwell, and the suburb
of Canterbury, during the interwar period. This is illustrated by the occupations of the first
house owners which include a manager, headmistress, timber merchant. Quite often the
houses were retained within a family for long periods of time.
The row of houses exemplify the move from large, mansion estates to accelerating
subdivision for middle-class development in the interwar period, as seen with the
piecemeal subdivision of ‘The Grange’ from 1915, which created Grange Avenue and
View Street.
CRITERION B: Possession of uncommon, rare or endangered aspects of the City
of Boroondara's cultural history.
The two matching and original picket fences at Nos. 2 and 6 are rare survivors, as timber
fences are frequently replaced. The two fences suggest that all of the houses in the row
might have had identical fences originally, further enhancing their visual coherence as a
group.
CRITERION C: Potential to yield information that will contribute to an
understanding of the City of Boroondara's cultural history.
Not applicable.
CRITERION D: Importance in demonstrating the principal characteristics of a class
of cultural places and objects.
The five houses are intact and representative examples of Arts & Crafts attic-style
bungalows. This is seen in the use of complex, high-pitched gabled roofs and
breakfronts, and major and minor gables to some facades. The use of brick arches and
heavy piers with buttressing to the verandahs is also characteristic, as are the multiple
cladding materials in the gables (latticework vents, shaped timber shingles, smooth and
roughcast render, half-timbering strapwork). Two show the influence of the emerging
California Bungalow style as well, with tapered pylons to the side verandahs. Door types
are also typical of their era: some ledged and highwaisted, others with a dramatic
quarter-circle window. Art Nouveau floral imagery, which was popular from the turn of the
century until the mid-1920s, is seen in the wide variety of leadlight windows.
CRITERION E: Importance in exhibiting particular aesthetic characteristics.
The five houses demonstrate many typical features of the Arts & Crafts attic-style
bungalow style, however, they are more substantial than most homes of this period, and
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show unusual design coherence, suggesting that they were designed by a single person
(most likely Arthur Bidgway), though the level of design and detail of No. 2 is the highest.
Their coherence also strengthens their presentation as a whole. While similar motifs are
repeated, each building has a unique massing of gables and verandah supports, giving
each an individual character and aesthetic appeal. The mature Plane street trees
contribute to the spacious and green suburban feel of the row.
achievement at a particular period.
Not applicable.
CRITERION G: Strong or special association with a particular community or
cultural group for social, cultural or spiritual reasons. This includes the
significance of a place to Indigenous peoples as part of their continuing and
developing cultural traditions.
Not investigated.
persons, of importance in the City of Boroondara's.
No 2, at minimum, has links to architect Arthur Bidgway. Bidgway practiced from Port
Melbourne in the 1890s until around 1915, and was responsible for the most substantial
houses in that suburb during the Federation period. He moved to 7 Balwyn Road in 1912,
and was practicing there where he designed 2 Grange Avenue. Little is known of his
career after he left Port Melbourne.
The Grange Avenue Precinct comprises the interwar development on the north side of
Grange Avenue, at 2-10 Grange Avenue. Grange Avenue was created in a subdivision of
the Victorian estate called ‘The Grange’, by its owners the Rennicks, in 1915. They
created Grange Avenue and View Street, on the west side of Balwyn Road, and began
selling off residential blocks in 1916. The blocks comprising 2-10 Grange Avenue were all
sold by 1919, with house construction beginning that same year. One of the first buyers
was Ada Vanselow. She was the wife of Albert Vanselow, a builder and timber merchant
with connections to the Rennicks (‘The Grange’ was given as his address in 1919).
Vanselow soon built a house for himself at 10 Grange Avenue, and is documented as the
builder for the four other houses as well. The second to last house built in the row was
No. 2, designed by Alfred Bidgway, an architect of substantial middle-class homes in the
Port Melbourne area in the late 1890s to about 1915, who had relocated from Port
Melbourne to 7 Balwyn Road, Canterbury, in 1912.
The street is planted with mature Plane trees, which have good form and intactness on
the north side of the street.
Most of the early owners of the houses, the Vanselow, White and Faragher families, were
linked by family or other ties, as evidenced by the pattern of inheritance, and their
ownership is characterised by very long tenure.
The houses are all situated on generous blocks with similar front and side setbacks. Two
retain identical picket fences (Nos 2 and 6), and Nos 2, 8 and 10 retain wide curving front
paths.
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The houses are all substantial Arts & Crafts attic-style bungalows constructed of red brick
with roughcast render and timber shingles to the multiplicity of gables. The steeplypitched roofs are all clad in terracotta Marseille tiles and the chimneys all have a slender
red brick shaft with a band of roughcast near the top and a flat projecting cap above that
(apart from No 8 where it has been removed). They all have strong similarities in
massing, with a main transverse gable roof, one or two bow windows (curved bay
windows) to the façade often below a tiled hood, and a variety of major and minor
projecting gables to the front, often sheltering the front verandah. No 10 has a particularly
strong major front gable, making the transverse gable secondary. Pleasing variation is
provided both by the arrangement of front gables and gabled dormers, and by the
differing verandah supports, which range from round-headed and flat arches and
buttressed piers, to typical California Bungalow pylons resting on brick piers. Each house
also has an individual pattern of Art Nouveau floral leadlights to highlights, door
surrounds and some sashes. Two houses (Nos. 4 & 8) have front doors with dramatic
quarter-circle glazing. Nos. 2 and 10 have identical highwaisted ledged doors with very
wide sidelights. Nos 2, 4, 8 and 10 have identical tessellated tile floors on their front
verandahs.
The house at No 2, designed by Bidgway, and built after numbers 4, 6 and 10, differs in
the use of a timber-shingled gable above the front bow window, and the expression of the
east elevation – once visible from Balwyn Road – as a second façade.
The houses are generally highly intact, with later extensions at Nos. 4 and 8 set behind
the line of the main roof, though visible from the public domain. An attic dormer was also
added to No 8 in 1930, which is sympathetic in detail and form to the house, but which
required the removal of the front chimney.
The Grange Avenue Precinct, at 2-10 Grange Avenue, Canterbury, is of local historical
and aesthetic significance to the City of Boroondara.
The Grange Avenue Precinct is of historic significance as a subdivision that is
representative of small-scale interwar subdivisions in the former City of Camberwell,
which saw the breakup of large estates, such as ‘The Grange’, into middle-class
residential areas including Grange Avenue and View Street. The substantial nature and
high quality of the design of the houses at 2-10 Grange Avenue exemplify the
quintessential middle-class interwar character for which suburbs in the former City of
Camberwell are celebrated. (Criterion A)
The Grange Avenue Residential Precinct is of aesthetic significance for the strong and
visually cohesive streetscape created by the row of houses which share a common style,
setback, scale, major roof forms, materials and decorative details. Paired with their
overall visual unity, the houses are individually and skillfully designed variations on a
theme, expressed by different combinations of secondary roof gables and dormers,
verandah supports and leadlight windows. They are also high quality interwar houses, at
least one of architect design, which are substantial for the area, and good examples of
the Arts & Crafts attic-style bungalow. They are generally highly intact to their period of
construction, and have been well maintained. They are enhanced by the two rare
surviving picket fences at Nos. 2 and 6, and the mature Plane street trees on the wide
nature strip. (Criteria D & E)
No 2 Grange Road is particularly distinguished by its superior level of detail and finishes,
particularly seen in the complex massing of the front gable, the gabled 'roof' above the
front bay window, and the fine brickwork of the arched brick porch entry. It helps
demonstrates the evolution of architect Arthur Bidgway's high-quality middle-class
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City of Boroondara
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houses from the Victorian and Edwardian villas found in Port Melbourne, to this very upto-date interpretation of the Arts and Crafts style with California Bungalow elements in
1921. (Criteria E & H)
Recommended heritage controls and heritage grading
Boroondara Planning Scheme
Tree Controls
Incorporated plan
Internal Alterations Controls
No
No
No
No
No
No
No
Schedule of Properties
No
2
4
6
8
10
Street
Grange Avenue
Grange Avenue
Grange Avenue
Grange Avenue
Grange Avenue
Suburb
Canterbury
Canterbury
Canterbury
Canterbury
Canterbury
Grading
Significant
Contributory
Contributory
Contributory
Contributory
Date
1920-21
1919
1919
1921
1919
Aboriginal heritage place
No
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City of Boroondara
14/11/13
________________________________________________________________________
Identified By
McConville, Chris & Associates with Graeme Butler (1991), 'City of Camberwell's Urban
Conservation Study'.
References
ABC News, article by Erik Havnen, 'A wooden platform surrounds the 'Dig Tree'',
http://www.abc.net.au/news/2009-05-18/a-wooden-platform-surrounds-the-digtree/1684496, accessed 28 August 2012.
City of Boroondara.
Bulloo Shire Council, 'Burke and Wills', http://www.thargotourism.com.au/the-burke-andwills-dig-tree, accessed 28 August 2012.
Canterbury
History
Group,
'About
http://home.vicnet.net.au/~canthist/cantabout.htm, accessed 28 Aug 2012.
Canterbury',
Certificates of Title, as cited above.
City of Camberwell's building permit records.
Drawings of 6 Grange Avenue, Canterbury, provided by Karen Limb, owner in 2012.
Hanslow, Jan, Port Phillip Pioneers Group Inc (PPPG), 'Early Melbourne Suburbs',
http://home.vicnet.net.au/~pioneers/welcome.htm, accessed 28 August 2012.
Kentley, Robin, owner of 10 Grange Road, personal communication, 20 August 2012.
Limb, Karen, current owner of 2 Grange Avenue, personal communication, 20 August
2012.
Maling Road, Canterbury, 'Our history', http://www.malingroad.com.au/info/our-history,
accessed 28 August 2012.
McConville, Chris & Associates (1991), 'City of Camberwell's Urban Conservation Study',
Vol 2, Environmental History; Vol 3, Precincts.
RBA Architects (2006), 'Balwyn Road Residential Precinct Canterbury, Stage 2 Heritage
Precinct Review'.
Schmeder, Natica (2005), ‘Physical Investigation of Clareville, 101 Spring Street South,
Port Melbourne’, report prepared for subject ‘Analysing Australian Buildings’, University
of Melbourne; and list of Bidgway designed houses, also compiled by N Schmeder.
The Argus, 27 Feb 1908, 27 Mar 1915.
Williams, Mark, son-in-law of current owner of 4 Grange Avenue, personal
communication, 20 August 2012.
Yarra Valley Water, property sewerage plans (PSP), as cited above.
________________________________________________________________________
City of Boroondara
14/11/13
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TOWER HOTEL
Address: 686-690 Burwood Road, Hawthorn East
Name: Tower Hotel
Builder:
Property No:
Survey Date: 24 Aug. 2012
Architect: P J O'Connor
Construction Date: c1941
Historical Context
Hotels
The first licensed premises within the City of Boroondara is said to have been the
Queen's Arms Hotel at the corner of Yarra Street and Burwood Road, Hawthorn,
established 1851. With the opening of the first road bridge across the Yarra River, the
area became more accessible and many hotels opened along Burwood Road, including
the Red Lion Hotel (1852) and the Hawthorn Hotel (1853), as well as the Bridge Hotel on
Church Street (1854). There was a concentration of hotels built in Hawthorn, with the
following built in 1855: the Beehive Hotel on Church Street, the Governor Hotham Hotel
on William Street, the Sir Robert Nickle Hotel on Burwood Road and Fletcher's Hotel on
the corner of Burwood and Glenferrie roads (Built Heritage 2012:105).
It was a tendency for hotels to be built on major intersections, as was the case with the
hotels that appeared through the more sparsely populated districts of the current City of
Boroondara. The early temperance movement in the City of Boroondara was evident in
1874, when the Council resolved to oppose most new licensed houses. Later, in 1920,
the City of Camberwell became a 'dry area' after a local poll caused the closure of all
hotels and licensed premises in the municipality (Built Heritage 2012:15, 106).
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Development during the 1880s Boom era, and the consequent residential subdivisions,
saw a new burst of hotel construction, particularly along the railway lines, as evident in
the Glenferrie Hotel (1889), the Palace Hotel, Camberwell (1890) and Allen's Auburn
Hotel (1887), to name a few (Built Heritage 2012:106).
In the twentieth century, many hotels received an upgrade as a result of an amendment
made to the Liquor Licensing Act (amended in 1920), which enabled the Liquor Licensing
Court to approve or disapprove plans for new hotels and to order improvements to
existing ones where necessary. While this legislation closed some hotels, many were
remodelled or entirely rebuilt to meet the standards of the licensing board, as was the
case with the Tower Hotel, rebuilt c1941 on the opposite corner at 686 Burwood Road,
Hawthorn East, with the original Tower Hotel of 1874 later demolished. This remodelling
continued in the post-war era. Architects that were prominent in the redesign of hotels in
the area during this period include R H McIntyre and P J O'Connor (Built Heritage
2012:107; Grow 2009:40).
History
The existing Tower Hotel at 686-690 Burwood Road, Hawthorn East (then known as
Auburn), was built c1941 (Herald, dated by hand 19/2/41, includes a photo of the
completed building). The site, encompassing the current site of the hotel apart from the
carpark on Burwood Road, was purchased on 30 September 1941 by architect Patrick
Joseph O'Connor and hotelkeepers Julius J and Ethel M Dennis (LV: V6535 F948). The
site had been home to the Hawthorn Market Buildings at the turn of the century (MMBW,
Detail Plan 1550, 1903).
The Herald reported on the imminent demolition of the original Tower Hotel across the
road and the relocation of its landmark clock, which was to be transferred next door to
Wridgeway Bros., where a new tower was to be built to house the clock. The article also
states that the new Tower Hotel, yet to be constructed, was designed by architect P J
O'Connor. (Note that previous heritage studies for Hawthorn state that the Tower Hotel
was built c1939, as did the Built Heritage Thematic Environmental History (2012: 109).
The 1941 date is more accurate.)
The description in the Herald of 1941 said of the proposed design:
It will be one of the most modern metropolitan hotels. A feature will be that beer will
be cooled in bulk in special cool rooms in the enlarged basement instead of by
refrigeration.
The building will be of brick with tile roof and reinforced concrete floors. The corner
tower will be 60ft high. On the ground floor will be public and saloon bars, bottle
department, parlors, and large lounge. Residential and private sections will contain an
entrance hall, several dining rooms, kitchens and office. Staff accommodation will be
at the rear. Bar walls, floors and counters will be tiled [?] with stainless steel
fittings and tile exterior. Under the tower there will be a large sun room. The first floor
will include 12 bedrooms and two suites.
The Tower Hotel was run and owned by Julius and Ethel Dennis from the time it was
built. They had run the previous incarnation of the Tower Hotel from 1937, and before
that, the Coburg Hotel and the Croxton Park Hotel (Argus, 19 June 1937: 16). In 1950
they transferred the hotel licence to their sons, after which it was known as Dennis'
Tower Hotel (Argus, 28 Oct 1950: 31; 4 Apr 1955: 9). In 1954, an article in the Argus (12
Jun 1954:19), notes that P J O'Connor and Brophy, architects, of 317 Collins Street,
invited tenders for 'renovations and painting' of the Tower Hotel, Auburn. O'Connor
remained the owner of 5/11ths of the property until his death on 19 July 1955, after which
his share reverted to Julius and Ethel Dennis (LV: V6535 F948).
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City of Boroondara
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The existing Tower Hotel underwent alterations, thought to date to c1968 (Walking
Melbourne, The Old Tower Hotel). This may be the remodelling of the ground floor
windows. This date corresponds to the transfer of the property title on 8 July 1968 to
Julius and Ethel Dennis's sons, who formed Dennis Bros. Investments Pty Ltd (LV:
V8286 F624).
The original Tower Hotel, with its landmark Italianate clock tower, was located on the
south-west corner of Burwood and Camberwell roads (MMBW, Detail Plan 1550, 1903).
It was built in 1874 to a design by architect James Gall. The first publican, from 1874 to
1891, was Anne Hurley, an unmarried woman (Argus, 11 June 1874: 5). This building
was demolished in 1954 (Built Heritage 2012:106; City of Boroondara Library photo
collection; Argus, 6 Dec 1954: 10).
P J O'Connor, architect
A majority of O'Connor's work was ecclesiastical buildings and hotel design and
remodelling. John O'Connor, the son of P J O'Connor, provided the following background
to his father's career (cited from Hermes record 26888):
Patrick Joseph O'Connor was born at Melbourne on 23 February 1901, one of
thirteen children of John O'Connor, stationmaster, and his wife Margaret (nee
Whelan). He was educated at a Catholic school in Carnegie and at an early age
entered the Victorian Railways Architects Office as an articled pupil. He studied
architecture at night classes conducted at the Working Men's College and after
gaining experience in the Railways Department, he set up in practice as an architect
in Collins Street in 1926. He took James Thomas Brophy into partnership in 1946,
after which the practice was known as O'Connor & Brophy.
P. J. O'Connor specialised in ecclesiastical and liquor industry work, and designed
many Catholic churches, convents, presbyteries and schools in Victoria between
1926 and his death in 1959. His most accomplished works include the St John of God
Hospital in Ballarat and St Roch's Church in Glen Iris.
Among his church designs, O'Connor was also responsible for St Mary Immaculate
Conception (Catholic), Ascot Vale (1934), St Theresa's (Catholic), Lake Wendouree
(1938), St Joan of Arc (Catholic), Brighton (1938), Our Lady of the Immaculate
Conception (Catholic), Sunshine (1940), Sacred Heart (Catholic), Newport (1942), Our
Lady Star of the Sea (Catholic), Flinders Naval Depot (1948), Uniting (Methodist), Albion
(1951), and St Margaret Mary's (Catholic), Spotswood (1953) (Coleman 1996: 64). He
also designed the Notre Dame de Sion convent (1939), located at 6 Witton Street,
Warragul (Hermes record No 31837).
His residential work included Catholic presbyteries and private homes. Those listed on
the Heritage Victoria database include St Patrick's Presbytery, Camperdown of 1927-8,
the St Mary's Presbytery, Malvern East of 1931, and Bradoc House, 32-38 George
Street, East Melbourne of 1933. In addition, O'Connor designed his own house at 452
Warrigal Road, Ashburton, in the Spanish Mission style, in 1932 (HO417, City of
Boroondara; Hermes record No 14742).
O'Connor redesigned many existing hotels during the interwar period (Grow 2009:40). In
the late 1930s, his hotel designs were in the Moderne style. These include the Wool
Exchange Hotel, Melbourne (c1930) (RVIA journal, Sep 1930); the Shamrock Hotel, 108
Woods Street, Donald (1877, remodelled c1938) (Age 24 May 1938); Great Britain Hotel,
Flinders Street, Melbourne (remodelled c1938) (Age, 12 Apr 1938); Royal Hotel, 73
Flemington Road, North Melbourne (c1938; recently demolished) (Age, 24 May 1938);
Star and Garter Hotel, 470- Bridge Road (remodelled 1940; now the Dover Hotel)
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City of Boroondara
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(Herald, 16 Aug 1939); and the Ararat Hotel, 118-130 Barkly Street, Ararat (1847;
remodelled 1940) (Buildings of St Kilda; Hermes record no. 42828).
Hotels that O'Connor designed in their entirety include the Tower Hotel (c1941), and a
hotel in Wyndham Street, Shepparton (c1938; believed to be the Victoria Hotel at 272
Wyndham Street) (Age, 20 Sep 1938).
His offices were located at 317 Collins Street (Argus, 9 April, 1938; LV: V6535 F948).
The Tower Hotel, of c1941, is a two-storey building with a V-shaped plan, located at the
sharply angled corner of Burwood and Camberwell roads. It is Streamlined Moderne in
style with a very unusual and decorative landmark tower at the corner.
The Hotel exhibits typical Streamlined Moderne characteristics including the use of
smooth render to much of the façade, strong horizontal lines, and decorative features
such as ziggurat-like steps framing the corner tower. The horizontal emphasis is created
by a wide horizontal band with incised lines above the ground floor, a narrow banded
hood above the first-floor windows, a high parapet that conceals the tiled hip roof,
horizontal glazing bars to the first floor double-hung windows, and incised horizontal lines
in the render of the ground floor and parapet. Two original ground-floor windows, at the
south end of the Camberwell Road façade, also have horizontal etched lines to the
windows and highlights above.
Apart from incised render, there is face brick between the first floor windows, and the
tower is of brick. (The colour is unknown, as it has been overpainted.)
The corner tower is very unusual in its details. It sits above banks of ten first-floor
windows at the corners, displaying the advanced steel framing of the building. It is
octagonal in plan, with a brick shaft of running bond terminating in a soldier course
beneath a simple cement-render cornice. Above the cornice rises the highly unusual
tower roof, which has eight curved sides rising to a pyramidal top and flagpole. On
alternating curved sides are vertical stripes of projecting bricks, five on each side, which
are reminiscent of buttresses. The pyramidal top is Grecian in its proportions.
At the east end of the Burwood Road elevation is a section five window bays long which
was built at a different time. The facade is identical in materials and details, though the
windows lack the horizontal glazing bars. The roof of this section is a very wide gable, in
contrast to the original hip-roof extent. It is visible in a 1945 aerial photo (Uni Mel, ERC:
849A3A, 1945), as is the building to the east of it where the bottle shop is now. This
section was either a very early extension to the hotel, or an earlier building which was
incorporated into the hotel by O'Connor.
The hotel has the following alterations: almost all ground-floor windows have been
replaced with modern, plate glass windows (most likely larger than the originals), and all
of the face brick has been overpainted. There are also intrusive signage and mobile
phone transmitters on the tower, but this appears to be reversible.
The Tower Hotel is one of only a handful of Moderne landmark buildings in the City of
Boroondara, though there are many surviving houses of this era. These 'landmarks' are
mostly public-use buildings, designed by architects and intended to have a striking street
presence by virtue of their size, location, and design. They include:
-
Dillon's Buildings, 493-503 Riversdale Road, Camberwell of c1936
(recommended for an individual HO by PS Amendment C101). A late interwar
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City of Boroondara
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design with graded apricot and tapestry brickwork, a sculpted tower and original
tower signage, at the corner of Riverdale and Burke roads. The ground floor has
been entirely altered.
-
Second Church of Christ Scientist, 41 Cookson Street, Camberwell (VHR H1196)
of 1937. This building of 1937, designed by architects Bates, Smart &
McCutcheon, is described by Heritage Victoria as being in the 'Moderne-Classical
manner' (also known as Stripped Classicism). This cream-brick building is far
more austere and grand than the entertainment-related buildings, such as the
Tower Hotel, the Rivoli Theatre and the Glenferrie Oval Grandstand, but it shares
a use of strong horizontals and boxy forms.
-
Glenferrie Oval Grandstand, 34 Linda Crescent, Hawthorn (VHR H890) of 1938,
by architect Stuart Calder in association with Marsh and Michaelson. This redbrick structure has a dramatic cantilevered roof which is visually suspended from
the curved corner tower.
-
Camberwell Police Station and Court House complex, 311-317 Camberwell
Road, Camberwell (VHR H1194) of 1938-39, designed by Public Works
Department architect Percy Everett. The complex is in the Moderne style and is
set on a diagonal axis. The buildings are constructed of red, brown and
manganese bricks and contain Everett's trademark pattern detailing.
-
Rivoli Cinema, 200 Camberwell Road, Hawthorn East (VHR H1524) of 1940. It
was designed by architects H Vivian Taylor and Soilleaux, and features
polychrome banded brickwork in colours ranging from pale pink to dark brown.
The façade is dominated by a vertical fin.
-
Kew Fire Station (former), 35-37 Belford Road, Kew (HO274) of 1940-41 by
architect Harry Winbush. It is cubic, with parapets hiding the roof. The walls are
of red brick with dark brown brick between the windows. A flagpole with
horizontal bands at its base is one of the main decorative elements of the façade.
It is distinguished by a plainness and elegance in its massing and detailing which
sets it aside from earlier Streamlined Moderne treatments, and foreshadows the
Modern period.
The Tower Hotel compares most closely with Dillon's Buildings, sharing Moderne design
features such as a strong horizontal emphasis created by a concrete hood above the first
floor windows, differentiated cladding between these windows, a parapet to hide the roof
form, and a vertical anchor in the form of a corner tower. Both buildings have altered
ground floors, as is typical for commercial buildings. The striking polychrome brick of
Dillon's Buildings is intact, while that of the Tower Hotel has been overpainted. The main
architectural feature of the Tower Hotel is not its brick but the namesake tower.
The Tower Hotel is the most striking and accomplished of PJ O'Connor's known hotel
designs. His creativity, seen at places such as St Roch's Catholic Church in Glen Iris
(HO351, City of Stonnington), was hampered as most of his pub designs were
remodellings of existing buildings, with the consequent constraints. These include:
-
Shamrock Hotel, 108 Woods Street, Donald of 1938. A modest two-storey
country hotel with a hip roof. The central feature is a modest balcony at the
centre of the façade, with a parapeted awning above it. There are two castconcrete Art Deco reliefs - above the door and on a short parapet at one end of
the façade. Windows have a horizontal emphasis - two horizontal panes to upper
sashes of first floor and frosted horizontal lines at ground floor (both window
treatments also seen on the Tower Hotel).
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City of Boroondara
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-
Ararat Hotel, 118-130 Barkly Street, Ararat (HO16, Rural City of Ararat) of 1940.
An earlier hotel that was extensively remodeled in the Moderne style. It is a local
landmark with a dramatic double-storey curved balcony at the centre of the
façade with dramatic curved fins above them. The roof is hidden by a parapet.
Cast Art Deco panels feature above window and door openings (like the
Shamrock). First floor windows have three horizontal panes. Appears to be quite
intact, apart from overpainting.
-
Dover Hotel (formerly Start and Garter), 470 Bridge Road, Richmond
(contributory to HO310) of 1939-40. A remodeling of an earlier hotel, this is a
modest two-storey corner building. The remodeling was restricted to creating
horizontal render bands between the two floors and around the chamfered
corner.
The Ararat Hotel compares most closely with the Tower Hotel, with its long façade and
dramatic central balconies and fins creating a dominant presence in Ararat. The Tower
Hotel, with its large and highly visible corner site, the chance to design a building from
'scratch', and the additional influence of being nearly half owner of the property afforded
O'Connor a much greater degree of creative freedom than in his other hotel
commissions. The result is a building with standard Streamlined Moderne elevations, on
a larger scale than usual, paired with a very idiosyncratic corner tower.
A search of hotels on HERMES (Heritage Victoria's database) indicates that only
Victorian-era hotels in the City of Boroondara are currently protected under the Heritage
Overlay. These include Malone's Family Hotel, 208 Canterbury Road, Canterbury
(HO29), and the Auburn Hotel, 87 Auburn Road, Hawthorn (Individually significant in
HO260). No interwar hotels were individually noted, though there may be examples
protected within heritage precincts which are not specifically noted.
Criteria adopted by the Heritage Council on 7 August 2008 pursuant to Sections 8(1)(c)
and 8(2) of the Heritage Act 1995, modified for the local context.
cultural history.
The Tower Hotel illustrates the central role of local hotels in residential areas of the City
of Boroondara. They tended to be built on major intersections, becoming local landmarks
both for their size and visibility and as community meeting places.
The original Tower Hotel, of 1874, was built at the same intersection, on the west side of
the street. The c1941 hotel continued the role of this early hotel in the local community.
CRITERION B: Possession of uncommon, rare or endangered aspects of the City
of Boroondara's cultural history.
The Tower Hotel is one of only a handful of interwar public-use buildings in the City of
Boroondara, which include State-significant buildings such as the Second Church of
Christ Scientist, the Glenferrie Oval Grandstand, the Camberwell Police Station, and the
Rivoli Cinema. Locally significant examples include Dillon's Buildings, Camberwell, and
the former Kew Fire Station. On the whole, however, Boroondara's hotels, town halls, etc.
were constructed during the 19th and early 20th centuries.
CRITERION C: Potential to yield information that will contribute to an
understanding of the City of Boroondara's cultural history.
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City of Boroondara
14/11/13
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Not applicable.
CRITERION D: Importance in demonstrating the principal characteristics of a class
of cultural places and objects.
Not applicable.
The Tower Hotel exhibits the aesthetic characteristics of the Streamlined Moderne style.
This includes the strong horizontal lines - in the rendered bands, parapet wall, continuous
window hood, and window glazing. Another feature seen in the more accomplished
Moderne buildings is the use of a strong vertical element - here, the tower, framed by
ziggurat-like steps - to provide balance.
The design of the tower itself is unusual and idiosyncratic for the period.
CRITERION G: Strong or special association with a particular community or
cultural group for social, cultural or spiritual reasons. This includes the
significance of a place to Indigenous peoples as part of their continuing and
developing cultural traditions.
The Tower Hotel is a local landmark in the City of Boroondara, by virtue of its highly
visible angled corner site and by its striking corner tower. The tower and name of the
hotel both refer to the original Tower Hotel of 1874, which was located across the street.
Thus the current hotel has been a local meeting place since 1941, with its pedigree
reaching back to the 19th century.
The Tower Hotel of c1941 was designed by architect PJ O'Connor, who was also partowner. O'Connor's proprietary involvement in the building and its creation on an empty
site (apart from a small building on the Burwood Road site which may have been
incorporated), gave the architect an unusual amount of design freedom, seen in the
striking and unusual tower design. O'Connor was well-known in the interwar period for his
Catholic Church-commissioned and hotel designs. The Tower Hotel is representative of
his use of the Moderne style for his hotels.
The Tower Hotel, at 686-690 Burwood Road, Hawthorn East, designed by architect and
part-owner Patrick Joseph O'Connor for licensees Julius and Ethel Dennis c1941. The
hotel is V-shaped in plan, due to the sharply angled corner of Burwood and Camberwell
roads, giving it visual prominence. It is Streamlined Moderne in style, with an
idiosyncratic tower at the northern corner.
The later extension to the south end of the Camberwell Road elevation is not significant.
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City of Boroondara
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The Tower Hotel is of local historical, aesthetic and architectural significance to the City
of Boroondara.
The Tower Hotel is of historical significance for the enduring use of this site as a licensed
premises since 1941, and of this intersection since 1874. The current hotel demonstrated
that is was a successor to the 1874 Tower Hotel by continuing its name and featuring a
landmark tower. The construction of a new hotel demonstrates the wider trend during the
interwar period of upgrading and rebuilding 19th century hotels to meet new and stringent
State liquor licensing laws, though it is a rare example of an interwar hotel in the City of
Boroondara. (Criteria A, B)
The Tower Hotel is of aesthetic and architectural significance as a good example of the
Streamlined Moderne style, with its strong horizontal lines created by rendered bands,
parapet wall, continuous window hood, and window glazing. This horizontal movement is
anchored by a strong vertical accent created by the idiosyncratic tower design. The
building is a local landmark due to its prominent corner site and tower.
It is also of architectural significance as one of prominent interwar architect PJ
O'Connor's most accomplished hotel designs. While many of his Moderne hotels were
remodellings of 19th-century hotels, he had the chance to design the Tower Hotel from
scratch. His creative freedom on this job was undoubtedly increased by the fact that he
was part owner of the property. (Criteria E, H)
Recommendations for the Schedule to the Heritage Overlay (Clause 43.01) in
the Boroondara Planning Scheme
Tree Controls
Incorporated plan
No
No
No
No
No
No
No
No
Identified By
Gould, Meredith, Hawthorn Heritage Study, 1993, Appendix B.
________________________________________________________________________
City of Boroondara
14/11/13
________________________________________________________________________
References
Buildings
of
St
Kilda
and
their
people,
'39,
Elsternwick
http://www.skhs.org.au/SKHSbuildings/39.htm, accessed 18/10/12.
Hotel',
Carter, Francesca (2012), The Weekly Review, 'A Man of contradiction',
http://www.theweeklyreview.com.au/article-display/A-man-of-contradiction/5268,
accessed 17/10/12.
City
of
Boroondara
Library
photo
collection,
'Dennis'
http://trove.nla.gov.au/work/38802804?q=tower+hotel+
hawthorn&c=picture&versionId=51526136, accessed 17/10/12.
City
of
Boroondara
Local
History
Wiki,
http://coblocalhistory.pbworks.com/, accessed 24/10/12.
Tower
'Riversdale
Hotel',
Hotel',
Coleman, Ian & Roslyn (1996), Twentieth Century Churches in Victoria.
Council.
Grow, Robin, of Art Deco and Modernism Society, personal communication, 15 October
2012.
Grow, Robin (2009), Melbourne Art Deco, Collingwood.
Lewi, Hannah & David Nichols (eds), (2010) Community: Building Modern Australia.
Lewis, Miles (ed.), (1991) Victorian Churches: Their Origins, Their Story & Their
Architecture, National Trust of Australia (Victoria), Melbourne.
Lewis, Nigel, 'VCAT application P866/2012, Heritage evidence for 39-41 & 43-45 Marne
Street,
South
Yarra',
http://www.melbourne.vic.gov.au/BuildingandPlanning/
Planning/planningpermits/Documents/, accessed 17/10/12.
Royal Victorian Institute of Architects (RVIA) Journal, Sept. 1930, viewed in Miles Lewis'
Australian Architectural Index, http://www.mileslewis.net/australian-architectural.html,
accessed 24/10/12.
State Library of Victoria (SLV) photo collection, Argus newspaper collection of
photographs, accessed 17/10/12.
The Age, in Royal Victorian Institute of Architects press cuttings (SLV) 1938-9, viewed in
Miles Lewis' Australian Architectural Index, http://www.mileslewis.net/australianarchitectural.html, accessed 24/10/12.
The Argus.
The Herald: 1941 article provided by Robin Grow; 16 August 1939 in RVIA Press
[cuttings 1939], viewed in Miles Lewis' Australian Architectural Index,
http://www.mileslewis.net/australian-architectural.html, accessed 24/10/12.
Walking Melbourne forum, 'The Old Tower Hotel,
http://www.walkingmelbourne.com/, accessed 24/10/12).
Burwood
Road,
Auburn',
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City of Boroondara
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ARDEN
Address: 1045 Burke Road, Hawthorn East
Name: Arden, house and garden
Grading: Individually significance
Architect:
Edna Walling (garden)
Builder:
Extent of Overlay: Lot 1 TP873071
History
A new building on the corner of Burke and Rathmines Roads was recorded in 1906, the
owner being C. Goodridge of Wattletree Road, Malvern. The designing architect is
unknown. A new owner, Henry C. Colville of 244 Burke Road was listed in 1931. 1
Since construction the building and front fence have undergone minor alterations. The
dwelling received a single storey extension to the east and west elevation in and around
the 1990.
Garden designer and writer, Edna Walling prepared a plan for the garden in 1928. A
copy of this plan ‘Proposed Design for Garden Doctor H. C Colville’ is held by the State
1
MMBW House Service Cover No. 52311 (1905-1931), as cited in Gould, 1992
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Library Victoria.2 Walling is widely regarded as the pre-eminent garden designer in
Australia in the early to mid twentieth century, and is known to have designed between
300 and 400 gardens (although not all were implemented), of which many have been
lost.
The plan clearly shows that numerous trees which existed on the site were to be
retained, suggesting that an earlier garden, probably established c.1906 pre-dated the
Walling design. The design prepared for Dr. Colville is a good example of Walling’s
designs for suburban residential gardens in the late 1920s and 1930s. The design was
well structured around a series of garden rooms with differing characters (more and less
formally arranged), linked by stepping stone paths. Utilitarian structures and areas were
integrated into the design at the rear of the residence, and a large portion of garden was
devoted to sweeping lawns and specimen trees. The whole was enclosed with a tapestry
hedge which utilised and built on the privacy afforded by the existing brick fence.
Evidence of the garden layout and plantings stipulated in Walling’s 1928 design survive
in the front garden at the subject site. The original plan prepared by Walling in 1928
provided a garden design for the whole site; in part it incorporated existing trees, which
are likely to have dated from the early twentieth century, when the residence was
erected.
A very large Queen Anne house with substantial land coverage to the ground floor and
an extensive attic storey. The design addresses both Burke Road and Rathmines Road
with prominent gable end treatment, and, a strong corner emphasis via a splayed gable
to the corner verandah.
The strong Queen Anne character is overlaid by some Art Nouveau inspired
embellishment on the verandah valence, verandah balustrade and the cast iron to the
fence. The walls are the "regulation" red brick, embellished only by render string courses.
Gable ends are half timbered, the roof is terracotta tiled with particularly fancy ridge
capping. The property is enhanced by an original brick and cast iron fence.
The building presents in good condition, although some minor structural and damp issues
are noted.
The timber annex to the eastern extension was constructed between 1988 and 1991 and
adopts the Art Nouveau stylistic attributes of the building.3 The single storey western
elevation was constructed c1990s in a matching style to the original building. Other minor
alterations include: replacement of original glass with laminated glass (windows facing
Rathmines Road); insertion of modern roof lights (north and south roof slopes); insertion
of full length windows in lieu of doors (living accommodation); and the insertion of new
external doors (north elevation).
Alterations to the front fence include the rippled iron to the back face of the boundary
treatment; rebuilt splayed corner gate pillar and replacement gate.
Gardens surround the residence on its north, east and south sides. To the west is a
large modern tennis court, and on the northern boundary there is a modern garage and
swimming pool. It is clear that the Walling design has been entirely lost at the rear (west)
of the residence, and to a large degree to the north of the site. However, the gardens at
the front (east and south) of the residence fronting Rathmines Road and Burke Road
Edna Walling Picture Collection, State Library of Victoria, ‘Proposed garden design for Doctor H. C
Colville”
3
Yarra Valley Water. Plan No. 52311.
2
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retain a good degree of integrity and intactness, including original hard landscaping,
original design intent for garden layout and several plantings which can be confirmed to
date from the Walling plan from c.1928.
All of these elements are considered important, and lend to the significance of the
garden. Hard landscaping which is significant and intact in the garden includes
bluestone pitchers edging garden beds; the triangular garden bed located west of the
diagonal entrance path; the diagonal corner entry; all of the ‘crazy paving’ pathways and
natural flag stone pathways which survive in the garden. These are all evident in the
1928 plan in the east and western portions of the allotment. In addition, there are several
finely shaped bluestone plinths set into the gravel paths as steps or separate the paved
paths from gravel (usually by a step to another level). Several early plantings survive,
including a Crabapple located on the Rathmines Road boundary (specifically identified on
the Walling plan as ‘Flowering Apple’). Other early plantings are mainly shrubs (now
mature and overgrown into small trees) which made up the tapestry hedge (comprised of
Viburnum, Photinia, Shining Privet and Variegated Privet) fronting Burke and Rathmines
Road or were specimen shrubs around the house. The Variegated Privet and Shining
Privet located on the north east corner of the residence are clearly marked on the 1928
plan, and survive today as sparse, leggy trees. The Lilly Pilly planted near the Burke
Road perimeter hedge may also be original, as it is an appropriate age and one of the
typical species favoured by Walling in the interwar period.
The house
Ussher and Kemp were at the forefront of the development of the domestic Queen Anne
in Melbourne and Australia. Early buildings such as Campion College (former Dalwraith)
of 1906 (Studley Park Road, Kew), and Woodlands of 1888 (Woodlands Street,
Essendon) were instrumental in the development of the style to suit the typical suburban
form which reached its peak in the first decade of the twentieth century.
Ussher's work falls into two categories, the gabled design - usually a two storey form, and
the hipped design where gables on two co-ordinate points project from an overall hip usually a single storey form. In general, Ussher's largest houses, e.g. Dalwraith in Kew of
1906, adopt the gabled designs. These houses fall into the mansion category. It is the
single storey designs, which usually apply to large houses rather than mansions, which
have developed into the distinctive Australian style, Queen Anne domestic, and which
were the most popular in the first decade of the twentieth century, e.g. Hedges
Residence, 1897 in Canterbury and Clarke's Residence in Toorak of 1897. Ussher joined
with Kemp and developed the style with the characteristic features of tiled hipped roofs,
timber verandah decorations, and a strongly three dimensional form with a corner
emphasis.
Several key practitioners worked within the style. Ussher and Kemp, WaIter Butler,
Christopher Cowper amongst others. The early development occurs in the last decade of
the nineteenth century culminating in the first decade of the twentieth century. The key
practitioners were widely copied by builders up to the First World War.
The Queen Anne style, combined with some of the principals of Australian homestead
planning and design, around the turn of the century, produced a new suburban style
continuing to the end of W. W. 1. Sometimes loosely referred to as "Edwardian" or
"Federation" it is more appropriately referred to as "Garden Bungalow", because it does
not relate just to the period around Federation at 1901, and because it is intimately
related to the garden suburb concept. What sets the "garden bungalow" and "Queen
Anne domestic" apart from the other red brick styles of the period is a purposeful and
close relationship with the garden as the dominant feature. A variety of decorative forms
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are used within this framework. The "garden bungalow" eventually developed into the
ubiquitous Californian Bungalow of the 1920s and 1930s.
The "domestic Queen Anne" had an ongoing influence on vernacular designs which can
be seen up to the 1960s. The domestic Queen Anne buildings which survive from the
turn of the century had a vital role in the development of the urban form of metropolis.
The architect for the residence has not been determined. It shows some of Christopher
Cowper’s design traits, but the complexity of the roof suggests a different designer. This
building is atypical for Queen Anne in its overwhelming emphasis of the corner. The
incorporation of the entry here is particularly unusual, as is the small verandah for a
hipped roof design type. These changes are a direct response to the prominent corner
site, and the unusually elaborate fence also reflects this siting. Despite the high site
coverage, the attention to a public address on both frontages, the use of a hedge and the
increased garden area achieved by cutting of the corner, have combined to retain a
strong sense of the house in a garden setting.
The garden
Although Edna Walling prepared a number of garden designs for places in Kew,
Hawthorn, Balwyn, Surrey Hills and Camberwell, none of these are included on the
Schedule to the Heritage Overlay of the Boroondara Planning Scheme.4
Other gardens which are known to have been designed by Walling in Boroondara
include the Whale Garden in Camberwell (1937), ‘Silver Birches’ in Balwyn (1936), the
Craymer Garden, Winmallee Road, Balwyn (1932) and the Freiberg Garden, 26
Yarravale Road, Kew (1960) (Olsen, 2003). Of these, only the Freiberg Garden (an
example of Walling’s post World War 2 work) is known to survive with any level of
integrity. This garden represents Walling’s later style and interest where her designs
favoured predominately native plantings.
A keyword search in the HERMES database (administered by Heritage Victoria) for
‘Edna Walling’ in all places located in the City of Boroondara yielded one place (20 Yarra
St, Kew), which was not designed by Walling, but made reference to the Freiberg house
and garden as a comparative example.
There are several examples in inner Melbourne of Walling’s suburban residential gardens
from the interwar period which retain a high degree of integrity to the remnant garden
design, layout, and or planting. Some of the better examples (on the VHR) include Little
Milton, 26 Albany Road, Toorak (1927), Marshall Garden, Eaglemont (1936), and
Woodbine, Toorak (1939). (This assessment is based on information included in citations
in the HERMES database).
Little Milton’s garden (VHR H1378) was designed by Walling in 1927, and on a
substantially larger scale with more sophistication to the design than the garden at 1045
Burke Road Glen Iris. Little Milton’s garden features the extensive use of red brick
paving. Of the original design, only the dense perimeter planting, a portion of the original
timber pergola and some mature trees survive. The Marshall Garden at 40 Carlsberg
Rd, Eaglemont (VHR H1962), designed in 1936 is a highly intact example of Walling’s
work, and exhibits many of the original plantings and landscape architectural features
including terraces, pools, paving, stone walls, mature trees, under plantings, shrubberies
and other elements of the original design. Woodbine, 161-163 Kooyong Road, Toorak
(VHR H1955) is an intact early example of Edna Walling's landscape style for suburban
gardens, and is one of only a few that remains largely intact and respectful to its original
4
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(1938) plan and vision. The garden design incorporates typical features of Walling’s
suburban designs, including the use of geometric layout and planting, tennis court, both
rectangular lawns and organic lawn space with informal planting, dense perimeter
planting, landscape ponds, separation of spaces ('rooms') for functional and design
purposes executed by the use of low walls, flagstones, steps, tea-tree and timber fences
and gates, a large Lilly Pilly hedge and smaller hedges, and planting to define entrances
to the next garden room, each with an individual character.
Those Walling gardens which are considered as being comparable at the local level as
interwar gardens designed by Edna Walling have several similarities – generally they are
able to be proven to have been designed by Edna Walling, they exhibit at least some of
the principal design characteristics typical or Walling’s style, and exhibit a good
representation of the garden or a portion of the garden as shown in the original garden
plan. These include Appledore, Eaglemont City of Banyule (HO130), Robin Hill House
and Garden, Chadstone (City of Monash, HO33), Churston House, Toorak (City of
Stonnington, HO211). Many other types of Walling garden (originally farms, town
gardens and homestead gardens) are included on the heritage overlay at the local level
but are not directly comparable.
Appledore was designed by Walling in 1936 for her friend Mille Gibson. The garden has
been subdivided from its original layout but retains distinctive Walling elements including
thick planting of perimeter shrubs, dominant smooth barked eucalypt (E.Citriodora) as a
marker to the driveway,. A small stone pillar with the name 'Appledore' attached, a
terrace to the north of the house and extensive use of random rock paving, as well as
signature species used by Walling including SIlver Birch (Betula pendula), flowering
Cherry and Crab Apples (Prunus sp. & Malus sp.) and Hawthorn (Crataegus sp.).
Robin Hill House and Garden was designed by Walling in c1930-1940, and displays
several characteristic features of a Walling 'structured' garden, including
compartmentalised lawn areas which create a series of 'pictures' and plays with false
perspectives, sweeping garden beds with rock edging, informal groupings of exotic trees
(which Walling favoured until the 1950's) dry stone pillars with wrought iron gates at the
main entrance to the property, natural flagstones through lawn areas, a stone path with
steps passing through the garden at the rear of the property, a small stone paved area at
the rear of the house which extends the house into the garden, and a rock wall and
stone steps along the western edge of the driveway. Several modifications however have
been made to Walling's garden, including new fences, red brick paving, a pool and
planting and an extension to the residence and loss of garden.
Churston House’s garden was designed by Walling in 1935 for Dr and Mrs Ringland
Anderson, and incorporated one of Melbourne’s earliest private swimming pools and the
garden designed by Enda Walling. A large garden remains, but the integrity to the
original Walling design has not been considered in the assessment of significance.
The east (front) and side (south) garden areas at 1045 Burke Road retain a good degree
of integrity and are relatively intact to the original Walling design prepared in 1928. They
retain and exhibit many of her trademark garden elements, as shown on the original plan
for the garden, including the principal garden paths to access the residential entrances
constructed of random ‘crazy paving’, bluestone pitchers lining garden beds, original
garden bed layouts, changes of level defined by large bluestone slabs in stone paths,
natural flagstone paths through lawn areas and tapestry hedges edging the perimeter of
the garden. Some remnant plantings survive from the original design, including
specimens of privet on the north east corner of the house, a Lilly Pilly near the eastern
boundary, an early Crabapple on the southern boundary and various under plantings.
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City of Boroondara
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Arden, including the house and garden, at 1045 Burke Road. The house, constructed in
1906 for owner C. Goodridge, is a very large Queen Anne house with an attic storey
constructed of red brick with Art Nouveau-inspired details. An original brick and cast iron
fence defines the site boundaries along Burke and Rathmines roads.
The garden was redesigned in 1928 by Edna Waling. The garden to the front of the
residence (to the south and east) retains many original features shown in the 1928 plan.
The key elements of the surviving (significant) garden are:
-
Intact hard landscaping fabric and layout, including paths, bluestone pitchers, garden
edging and steps (c.1928)
-
The intact layout and design intent of the front garden as per the c.1928 plan
(including the placement of plantings against the residence and surviving open
spaces and garden rooms)
-
Plants which date from c.1928 or earlier (Crabapple, Lilly Pilly, Tapestry Hedge,
Privet)
-
The brick and cast iron fence (c.1906)
The single storey c1990s extension to the west elevation, laminated window glass,
modern roof lights, alterations to some windows, ripple iron to the rear of the boundary
fence and gate, swimming pool, its associated paving and the garage are not significant.
Arden is of local architectural and aesthetic significance to the City of Boroondara.
Architecturally significant for: its adaptation of Queen Anne to a tight site; the complexity
of its elevation and planning; the use of the unusual splayed corner on a Queen Anne
design; and for the outstanding fence, rare on Queen Anne houses throughout
Metropolitan Melbourne. (Criteria B, E and F)
The garden is of aesthetic significance as a surviving example of an Edna Walling
suburban garden from the interwar period. While not wholly intact, the front section of the
garden (south and east of the residence, fronting Burke and Rathmines roads) exhibits
features typical Walling’s garden designs during this period, including the use of various
stone paths (gravel, crazy paving and stone flag), use of bluestone pitchers extensively,
tapestry perimeter planting hedges, and a strong geometric layout which linked the
residence and the garden. Many of her other suburban gardens have been lost through
subdivision. (Criteria D and E)
Already included in the Schedule to the Heritage Overlay of the Boroondara Planning
Scheme as an Individually Significant place, it is recommended that Tree Controls and
Fence Controls be added to the HO Schedule for this place.
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City of Boroondara
14/11/13
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Tree Controls
Incorporated Plan
notice and review?
No
No
Yes (significant trees
noted in 'what is
significant')
No
No
No
No
No
Identified By
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City of Boroondara
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References
Allom Lovell & Associates, Place citation for Marshall Garden, prepared for Banyule
Heritage Study, 1999. HERMES Database ID31484
Context Pty. Ltd., Place citation for Appledore Garden, prepared for Banyule Heritage
Review, 2009. HERMES ID 123990
Edna Walling Collection, State Library of Victoria 'Proposed Garden Design for Dr. H.C
Colville', 1928.
Edna Walling Collection, State Library of Victoria, various drawings by Edna Walling c.a
1920-1965
Gould, M., Place citation for Arden in Hawthorn Heritage Study, 1992.
Heritage Council of Victoria, Place citation for Woodbine prepared by Heritage Victoria,
2001. HERMES Database ID12399
Nigel Lewis and Richard Aitken Pty. Ltd., Place citation for Little Mitlon, prepared for
Stonington – City of Malvern Heritage Study, 1992. HERMES Database ID31521
Nigel Lewis and Richard Aitken Pty. Ltd., Place citation for Churston House, prepared for
Stonington – City of Malvern Heritage Study, 1992. HERMES Database ID31108
Olsen, K. (Heritage Victoria), Edna Walling Extant Gardens in Victoria : Desktop Survey,
Report prepared for Landscape Heritage Advisory Committee, Heritage Council of
Victoria, 2003.
Ward, A. (Gerner Consulting Group) Place citation for Robin Hill House and Garden,
prepared for Monash Heritage Study, 1998 HERMES Database, ID 111611
Yarra Valley Water. Plan No. 52311
________________________________________________________________________
City of Boroondara
City of Boroondara
150
SIGNIFICANT
NON-CONTRIBUTORY
CONTRIBUTORY
Legend
137-141
137-141
135
623-625
623-625
ce
Burwood
631
Road
629-629A
627 629-629A
Eastern P
la
131-133
633
129
635 635
127
Attachment 2 - Heritage grading for 631-633 Burwood Rd, Hawthorn
oad
Auburn R
637
639
641
2
643
2
645
8-10
647 647
8-10
649
2A
651
653
lace
7
655-661655
Montrose
P
2A
Attachment 2
14/11/13
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14/11/13
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Attachment 3
RECOMMENDATION TO REGRADE A PROPERTY IN A HERITAGE PRECINCT
Address: 55 The Boulevard, Hawthorn
Name: Norman Seabrook House
Survey Date: 22 Nov 2012
Architect: Norman Seabrook
Current Grading: Non-contributory to HO164
Recommended Grading: Contributory to HO164
Builder:
Architect Norman Seabrook's own house of 1935, as noted in the 'City of Boroondara Thematic
Environmental History' (Built Heritage, 2012, p 150) and the 'Encyclopaedia of Australian
Architecture' (eds P Goad & J Willis, 2011, p 620). It was, in fact, purchased in the name of his wife,
Linda May Seabrook, in August 1934 (Land Title Vol 5923 Fol 599). Christine Phillips writes of
Seabrook in the 'Encyclopedia of Australian Architecture':
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City of Boroondara
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Norman Hugh Seabrook (1906-79) and Alan Louis Fildes (1909-56) formed the practice of
Seabrook & Fildes in 1936 at 84 William Street, Melbourne. Their most innovative work was
produced during the 1930s when they championed modernist designs across a diverse range of
building types. ...
[Seabrook] was the practice's principle designer. He was a strong advocate for modernist
architecture, voiced publicly in his seminal '1935' article, published in Australian Home Beautiful
(July 1935). The practice's early works were well published in Australian Home Beautiful, Art in
Australian, the RVIA Journal and local newspapers like The Argus.
The practice is best known for Seabrook's 1933 competition-winning design of the MacRobertson
Girls' High school in Albert Park, Melbourne. ... Seabrook won the competition after returning
from Europe, where he had gained experience at the notable firm of Burnet, Tait & Lorne in
London and had also embarked on a self-guided architectural cycling tour through England, the
Netherlands, Germany and France.
Inspired by his travels, Seabrook's design was a radical departure from the design of other
contemporary schools in the state ... Its cream brick cubic forms, vertical clock tower, raked out
mortar joints and De Stijl red-and-blue coloured detailing also echoed Willem Dudok's design for
the Hilversum Town Hall, Netherlands (1923-31) ... The design marked the beginning of an
important Melbourne architectural practice when Alan Fildes joined Seabrook to assist with the
project and later became a partner. The school's functionalist planning, brick forms and detailing
became a signature palette for the practice's later works....
The practice's early residential commissions were also consistently modern in a climate
dominated by stylistic eclecticism. Typically open-planned designs with colourful interiors
featuring built-in furniture and modern kitchens, key examples include Seabrook's own house
design in Hawthorn (1935) ...
Seabrook's house is a brick building (overpainted) with horizontal banding visible. The red brick front
fence appears to be original. It is a very simple house which illustrates Seabrook's modernist style,
as well as the raked out horizontal mortar joints, as seen at MacRobertson Girls' High.
The front entry, however, which was a major decorative feature of the facade, was demolished and
reconfigured in 1993. The plans from that time note that the original porch had a reinforced concrete
roof slab resting on 'decorative brick piers'; this decorative brickwork may have continued along the
inner walls of the porch. The new porch is similar in overall form, but the new piers are narrower and
set farther apart (to allow for a larger porch floor area) and they are rendered. The new roof is still
flat, but constructed of fibro-cement sheet. A new door and surrounding lights was also installed.
Because of these alterations, the house now falls short of individual significance.
The house, however, is located within HO164 - Leslie Street Precinct, Hawthorn. It is currently
graded 'non-contributory'. The statement of significance notes that the precinct 'has a particularly
well-preserved and notable collection of the prevailing house styles of the 1880s through to the
1930s', and it 'illustrates the significant development phases affecting Hawthorn including ... interwar
concepts of the garden suburb'.
As Seabrook's house dates to the interwar period, and is still identifiable as such (notwithstanding
the new front porch), it also contributes to an understanding of interwar residential development in
Hawthorn, in accordance with the precinct statement of significance. It is particularly desirable to
extend protection under the Heritage Overlay to this house, considering its architectural and
associative significance, namely for its links with distinguished early Modern architect Norman
Seabrook and as an example of his work from the interwar period.
For these reasons it is recommended that 55 The Boulevard, Hawthorn, be regraded to
'Contributory' to HO164 - Leslie Street Precinct.
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City of Boroondara
14/11/13
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Attachment 4
121 Coppin Grove, Hawthorn
Address: 12 Coppin Grove, Hawthorn
Name: Yarroma
Grading: Significant to HO163
Builder: not known
Extent of Overlay: Part of HO163
Property No:
Survey Date: 10/9/2012
Previous Grading: B
Architect: J.T. Conlon
Construction Date:1872-3,
1890
History
'Yarroma' at 12 Coppin Grove, Hawthorn was originally part of Crown Allotment 21, Section 6
in the Parish of Boroondara, County of Bourke.
In 1845 and 1846, (Sir) James F Palmer received the Crown Grant for the three lots bound by
the Yarra River and what are currently Burwood Road and Yarra Street (Parish of Boroondara
plan). Palmer was the first speaker of the Victorian Legislative Council (HV record, Hermes
no.574).
1
The subject site was subdivided to 2 lots in September 2012. Lot 1 contains the Coach House dwelling, the northern
access to the site, most of the driveway, the tennis court and land to the south and west of the tennis court. Lot 2
contains the original dwelling, the southern access to the site, the circular drop off roundabout, the swimming pool,
main lawn, vineyard and land to the west of the vineyard. The street address for lot 1 is 12 Coppin Grove, Hawthorn,
and for lot 2 12A Coppin Grove, Hawthorn. This citation was prepared before the subdivision but applies to both 12
and 12A Coppin Grove.
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City of Boroondara
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Upon Palmer's death, ownership of the land (which totaled over 46 acres) was transferred to
his executors, Robert W Pohlman and David C McArthur, in June 1971 (Old Law Note App.
no. 4184). Pohlman and McArthur remained the registered owners, however, in August 1871,
the Contract of Sale (not registered) went to George Coppin who subdivided the land and
created St James' Park, which included Coppin's Grove, Shakespeare's Grove and Isabella's
2
Grove (LV: V472/292; V513/508).
The subdivision plan, dated September 1871, notes George Coppin Esquire as the Vendor
(included in Old Law Note App. no. 4184). As per conditions noted on the title, in 1872,
Pohlman and McArthur sold a number of the subdivided lots under their names. Later in 1872,
3
George Coppin became the registered owner of the remainder of the lots in St James' Park.
Coppin's land totaled over 35 acres (35 acres, 3 roods, 9 perches) and excluded Palmer's
mansion 'Burwood', now 'Invergowrie' (lot 67; currently 21 Coppin Grove) (LV: V513/508;
472/292).
The title indicates that the southern portion of 12 Coppin Grove (location of the house) was
sold to Thomas Burrows in January 1875 (LV: V513/508). However, in 1872 Burrows is rated
for a house on Coppin's Grove, which he occupies. In 1873, Burrows is rated for one property
in St James' Park, which included an 'unfinished' house (RB). This indicates that the house at
12 Coppin Grove was built 1872-3.
The house was designed by architect James T Conlon (RNE assessment in Hermes report
no.2508; Huddle 1978). Later, Conlon married Fanny E Burrows, niece of Thomas Burrows
(Huddle 1978). Little else is known about Thomas Burrows, although Huddle suggests that he
was previously a gold miner. In 1872, a Mr T Burrows of Hawthorn was elected a member of
the Royal Society of Victoria (Argus, 15 Oct 1872:6), Victoria's oldest scientific society (RSV).
In 1872 Burrows is also rated for a separate lot of land on St James' Park. However, this
purchase is not registered until 1873, when the titles indicate that Burrows, gentleman,
purchased the lot to the north of his house in June 1873 (creating the extent that would
remain until 2012) (LV: V596/F193). In 1875, Burrows is rated for a house and land on
Coppin's Grove (RB).
In May 1879, Burrows sold the two consolidated lots and house to Arthur Nichols, accountant
for the Commercial Bank, Melbourne. At this date the land totaled over one acre (1 acre, 1
rood, 20 perches) (LV: V1103/F1103/574).
The house was known to have been called 'Yarroma' as early as 1884, when auction was
advertised. The advertisement describes the elegant villa, located in the highest portion of St.
James' Park, 'erected regardless of cost, no expense having been spared in its building and
completion', describing the interior details and noting its recent decoration in 'the best modern
style'. The outbuildings listed included a 'coachhouse, two-stall stable, man's room, hay-loft,
all being substantially built of brick' while the grounds included terraced garden, shrubbery,
orchard, two summer houses and a fountain. The advertisement also notes the views and
close proximity to the railway station (Argus, 10 Jul 1884:2).
In August 1884, Edwin Bartlett Esquire of Kew purchased the property (LV: V1600/F806). The
house is known to have had ten occupants in 1884 (Huddle 1978: Appendix C). In May 1888,
Bartlett sold to Philip Bevan of Melbourne, an Engineer and Ironfounder. Upon Bevan's death
in 1896, probate was granted to his wife Ann Bevan and Edward Philip Bevan, Manufacturer,
both of Coppin Grove, St James' Park (LV: V1600/F806).
2
Certificate of title V472/F292 is largely faded, but was interpreted with the assistance of staff of the Office of the
Registrar-General. Hand-written notes on the first page indicate the Contract of Sale to Coppin in August 1871. The
Legal notes (Application no.4184) noted that the Contract of Sale was not registered at this date.
3
Coppin's title is dated 1871, but this appears to be incorrect, as 1) the volume and folio number is later than that of
the 1872 title; 2) the attached plan shows subdivision that occurred post March 1872, when Pohlman and McArthur
became the owners; and 3) the land transfer number is 25924, and transfer 25923 dates to July 1872 in the previous
title V472/292 (the transfer details in this title are handwritten and the date has faded; written vertically on the right of
the last page).
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In 1890, architect James Wood's tender was accepted to build a billiard room for P Bevan,
Esquire at Coppin Grove (Aus. Architectural Index).
In May 1905, Edward P Bevan, who lived at the house and is now a Machinery Merchant,
became the sole owner (LV: V1600/F806). In October 1918, Bevan sold to George Gardner,
manufacturer, of Ferrars St, South Melbourne. After his death in 1948, probate was granted in
July 1950 to his wife Violet M Gardner, who lived at the property, John S Coltman, solicitor,
and Sylvia M Letcher of 'Thirlmere', St Kilda Road, Melbourne, married woman. However, on
the same date, the land was swiftly transferred to Violet M Gardner, who became the sole
owner. Violet, who died in 1977, left the house to John S Coltman, now a retired Solicitor, and
John A Hepworth, Chartered Accountant, in 1978. In January 1979, the house was
transferred to Maxwell Hagger Investments Pty Ltd of Queen St, Melbourne. Steven and
Claire Zagon, both of 12 Coppin Grove, became the owners in June 1984.
In December 1987 the house was sold to Peter and Margot O'Brien, who are the current
owners in 2012. In September 2012, the O'Briens lodged a plan to subdivide the lot;
'Yarroma' and the garden extending to the west boundary to become lot 2, while the northern
portion, including the stables, will become lot 1, number 12A (LV: V4159/F617; V11375/220;
PS649057A).
A pool was constructed in 1976, as well as other 'alterations' which included a 'canopy added
to the dwelling'. In 1984 works were carried out on an 'outbuilding', fence and patio. Further
alterations to the house occurred in 1989 (Council's building index card).
A tennis court was constructed by 1984 in the north-west of the property (alterations, 1989
show tennis court). The garden design probably dates to the early 1870s, contemporary with
the construction of the house. Front gates lead to a semi-circular driveway and stables are
located close to the entrance gate (RNE assessment in Hermes report no.2508). The garden
at the west boundary falls steeply to the Yarra River and is terraced. Many mature exotic
trees remain. In 2011, Butler (2011:3) noted the following species: Araucaria bidwillii , A.
cunninghamii, A. heterophylla , Quercus canariensis near the front boundary, oaks,
Cupressus sempervirens and a Brachychiton acerifolius.
The 1901 MMBW plan shows the garden layout with return gravel paths and fountain to the
rear of the house (Butler 2011:3). The entrance leads to a circular driveway and stables on
the northern boundary.
Detail of MMBW plan no. 1090, dated 1901, showing 12 Coppin Grove, Hawthorn.
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James T Conlon, architect
James Thomas Conlon was the son of architect Peter T Conlon, who practiced in Melbourne
in the 1850-70s, later from and office at 56 Little Collins Street, Melbourne. From 1871 James
Conlon worked from the Collins Street office. Conlon lived in Richmond, then at 'Hillside', Punt
Hill, South Yarra from 1875, after his marriage to Fanny E Burrows. Fanny's uncle was
Thomas Burrows, of 12 Coppin Grove, Hawthorn (Huddle 1978:passim).
Conlon designed a limited number of buildings due to his early death in 1877, which meant he
practiced professionally for approximately six years. His first design was the house at 5 High
Street, Windsor (1872), followed by 12 Coppin Grove (1872-3). Conlon is attributed with
having designed two other houses within St James' Park. These include 1 Shakespeare
Grove (1872) for Charles Levy (Conlon's brother-in-law) and 26 Yarra Street (1873). He may
also have designed the brick additions for 'Invergowrie' at 21 Coppin Grove in 1872 (Huddle
1978:passim).
Conlon's other works include a limited number of houses (from villas to cottages) in
Hawthorn, South Yarra, Geelong and Newmarket as well as offices in Little Collins Street.
Huddle attributes a mere 15 known works to his name, a majority of which were residential
(Huddle 1978:passim).
Other sources attribute the following works to Conlon. St Alban's Homestead at 6-30
Homestead Drive, St Albans (1873) and Suma Park, Bellarine Highway, Queenscliffe
(c1880s; design similarities to St Alban's Homestead) (Hermes record nos. 1213 & 1707).
Conlon formed the architectural partnership Conlon & Salway in the mid 1870s (Huddle
1978:passim).
Sources
Australian Architectural Index, of Miles Lewis, 'Coppin Grove',
http://fmpro.abp.unimelb.edu.au/, accessed 10 Sep 2012.
Boroondara City Council, Building index card for 12 Coppin Grove, Hawthorn.
Borough of Hawthorn rate books (RB), viewed microfilm held at PROV, VPRS 580/P0, Unit 1:
1871, entries 1 onwards; 1872, entries 21 & 52; 1873, entry 55; 1875, entry 41.
Built Heritage (2012), 'City of Boroondara Thematic Environmental History'.
Gould, Meredith (1992), 'Hawthorn Heritage Study', prepared for Hawthorn City Council.
Huddle, Lorraine (1978), 'An Architectural Biography of James Thomas Conlon', investigation
project, University of Melbourne. Appendix C includes rate book information gathered by
Gwen McWilliam for Loder & Bayly (1976), 'Hawthorn Conservation Study, St James Park
Area'.
Land Victoria, Certificates of Title and Plan of Subdivision, as cited above.
MMBW plan. No. 1090, dated 1901.
Parish of Boroondara plan, viewed at PROV online, http://www.access.prov.vic.gov.au/,
accessed 10 Sep12.
Royal Society of Victoria (RSV), 'History', http://www.sciencevictoria.org.au/, accessed 12
Sep 2012.
The Argus.
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An inspection of 12 Coppin Grove was made on 10 September 2012. The property was
inspected from public areas including the street frontage to Coppin Grove and the Yarra River
from the Richmond side near Melbourne Girl’s College. It should be noted that the frontage to
the property was largely concealed with temporary fencing and screening that partially
concealed the new entrance driveway constructed between the house and the stables. In
particular the garden was not inspected in detail, however the range of trees noted in the
Hawthorn Conservation Study are still extant.
Located within the St James’ Park precinct 12 Coppin Grove is one of a number of fine
Victorian-era mansions in Coppin Grove, Isabella Grove, Shakespeare Grove, Yarra Street
and Wyuna Avenue. St James Park Estate is noted for the impressive range of architecturally
designed villas and mansions that exhibit a range of architectural styles fashionable in the
Victorian period.
The site of 12 Coppin Grove slopes steeply toward the Yarra River and a rock escarpment
provides a near vertical edge as it meets the river. The view of the rear of the properties
along Coppin Grove from the river is one where the gardens and tall trees dominate. There
are particularly large specimens of exotic trees forming a distinctive skyline to the ridge, and
of more isolated large eucalypts that also contribute to the massed foliage. There are few
buildings visible from the river between the Bridge Road bridge and the railway line.
The layout of the garden with the driveway loop, lawn in front of the house and curved
encircling pathways as shown on the 1901 MMBW plan is still discernable from aerial
photography. The recently constructed driveway (2012), pool (1976) and tennis court (1984)
are elements that have altered the original layout. There are a number of stone terrace walls
leading to the river frontage.
There are a large number of the trees described in the citation (1992) that still survive and
these include large specimens of Araucaria Bidwillii, A cunninghammii, A, heterophylla,
Quercus Canariensis, Cupressus sempervirens, and a Brachychiton acerfolius. From the
river visible large trees include at least two palms (species unknown), peppercorns,
pittosporums and several large eucalypts (species unknown). The overall effect of the garden
is one of a mature garden of dense massed planting.
The di-chrome brick Victorian coachhouse and stable are also designed in a Victorian Gothic
Revival style and match the house in their architectural form and detail. This building has
undergone several alterations, most recently in 1989 when it was converted to guest
accommodation. These alterations included the insertion of glazed doors.
The Victorian Gothic Revival house and attached billiard room built 1872-3 and 1890
respectively is situated close to the front boundary of Coppin Grove and turns its back on the
street. The house is built with the main elevation or ’garden front’ facing toward the extensive
garden and the river. The architectural composition of the garden front uses the device of an
arcade situated between an entry tower and a projecting gable wing.
The central four bayed arcade is flanked by an entrance tower with mansard roof, deeply
recessed porch and crowned with a cast iron railing with flagpole. The other dominant
element to the front elevation is a projecting gable with canted bay window and arch-headed
windows. The main roof is crowned by a large ‘widow’s walk’ with cast iron railing (this may
be a later alteration as it is encircling a sundeck on the roof). Of particular note are eight
chimneys with fine brick patterning and brick mouldings. The house displays a range of
Victorian stylistic features associated with the period, including the use of Hawthorn, red and
cream patterned brickwork, render detailing of parapets and gables, bracketed cornices, and
a variety of hipped and gabled roof forms. The billiard room forms an additional wing to the
south of the main house. A clear glazed canopy carport was added in front of the billiard room
in 1976.
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The house was described in the 1970s as being painted white in parts, however it is now
unpainted externally. The main external alterations appear to be the carport, a sun deck to
the roof, tennis court, the pool house, and a small rotunda.
Historical Context
West Hawthorn and St James' Park, located next to the Bridge Road bridge, was an ideal
area for residential development and became a highly desirable residential location close to
the city, yet upwind from the noxious river industries. (Gould 1992:83). When the first land
sales took place in the Hawthorn area during the 1840s, an elongated tract of land between
Burwood Road and Denham Street was reserved as the future site for a government
township, although it would not be surveyed and auctioned until 1852. In January of that
year, plans for the Village of Hawthorn were drawn up by architect Albert Purchas. The
township was dominated by a large central reserve for public recreation (later West Hawthorn
Reserve; now St James Park), with smaller reserves for a government school for the Church
of England, Roman Catholic, Presbyterian, Wesleyan and Independent congregations to
establish their respective places of worship. (Built Heritage 2012:46.):
St James Park Estate
Sir James Palmer’s property Burwood occupied the land subdivided in 1871 by theatrical
entrepreneur George Coppin to create the St James Park Estate. Palmer's original mansion
was retained on a much-reduced three-acre block, while the surrounding property was carved
up into 73 smaller blocks, including standard residential allotments as well as much larger
sites with river frontage. Coppin's new estate created several new streets: Isabella Grove,
Shakespeare Grove, Brooke Grove and Coppin Grove. Comparable subdivision took place
throughout the area of Hawthorn at that time; and information tabulated by Gwen McWilliam
shows that virtually all of the original Crown Allotments in Hawthorn were subdivided, to a
greater or lesser degree, between 1871 and 1877.
The Hawthorn Heritage Study stated that the area was “noted for its many villa residences in
garden settings” by the 1880s. This was further acknowledged in the 1886 edition of the
Melbourne Municipal Directory, which, in a brief description of Hawthorn, observed villa
residences of the latest architecture are being rapidly constructed in this popular suburb. By
the turn of the century, much of Hawthorn was characterised by this type of housing. In the
Hawthorn Heritage Study, the observations of local historian Colles, writing in 1910, were
summarised thus:
He described how where “Palmer's old home stood”, that is, in Coppin Grove, the
high ground was “now crowned and covered with fine villas, the homes of many of
Hawthorn's well-to-do residents”. In a tram journey along Riversdale Road, Colles
told how he travelled “past many fine and picturesque dwellings, for the thoroughfare,
like the other running north of Burwood Road, Barkers Road, is almost wholly given
up to private residences.
St James Park Estate comprises approximately 90 properties of which many are mansions
and villas of outstanding architectural quality. Two other properties in St James Park are
known to have been designed by the architect J.T Conlon, at 1 Shakespeare Grove and 26
Yarra Street. Both of these houses have been significantly altered and are of a lesser
integrity than Yarroma. Of Conlon’s mansions outside the metropolitan area, both Suma Park
at Marcus Hill on the Bellarine Peninsula and St Alban’s homestead at Whittington near
Geelong are a more conventional Victorian design with hipped roofs and encircling verandahs
with cast iron decoration. When compared with Yarroma these examples are less
adventurous in their use of the full range of architectural vocabulary available to architects at
the time. St Alban’s homestead has the same distinctive chimneys as Yarroma and its layout
also includes extensive wings including a billiard room.
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There are many examples of Victorian-era mansion houses and villas throughout Boroondara
in general, and Hawthorn in particular. Those designed in the Gothic Revival style form a
smaller subset of the Victorian style, of which the Italianate was more commonly used. The
Victorian Heritage database, when searched for comparative examples of the Gothic Revival ,
returns only two places, including Genazzano College at 285-315 Cotham Road Kew (William
Wardell 1863), and Former E.S & A Bank at 343 Burwood Road Hawthorn (Leonard Terry
architect 1873). Both of these are outstanding examples of the Victorian Gothic Revival style
applied to commercial buildings.
Examples of buildings that retain their nineteenth century garden layouts and plantings are
rarer, but examples in Boroondara include Medlow house and garden at 42 Warrigal Road
th
Surrey Hills that comprises an elaborate 19 century garden with artificial lake, sunken lawn
and 2 storey coach house. Astolat at 630 Riversdale Road Camberwell (1884) is a Victorian
Italianate mansion with several acres of garden with oval lawn , carriage loop, tennis court,
pavilion and remnant orchard and vegetable garden. In the St James Park Estate
Invergowrie at 21 Coppin Grove and 20 Shakespeare Grove also have extensive gardens
with nineteenth century plantings.
Although there are numerous examples of villas and mansions in Boroondara, Yarroma is an
excellent example of a Victorian Gothic Revival villa with a significant outbuilding, nineteenth
century garden layout and plantings, and a fine riverside setting.
Assessment against Criteria
Criteria adopted by the Heritage Council on 7 August 2008 pursuant to Sections 8(1)(c) and
8(2) of the Heritage Act 1995, modified for the local context.
cultural history.
Yarroma at 12 Coppin Grove is located on part of the St James Park Estate and subdivided
from the large riverside property of Sir James Palmer, by theatrical entrepreneur George
Coppin in 1871. Larger sites with river frontages were much prized by the wealthy and
influential who built mansions and villa residences befitting their status. The establishment of
St James Park Estate set a pattern that was to be repeated throughout much of Hawthorn in
the 1870s.
As the closest point of Hawthorn to the river and the city, West Hawthorn rapidly developed a
village character along Burwood Road, complemented by the land set aside for several
churches and the West Hawthorn Reserve, now St James Park.
The establishment of mansions and villas during the 1870s was a dominant historic theme in
the development of Hawthorn. Yarroma, built in 1872-3 represents one of the earliest villas
on the St James Park Estate after the subdivision established smaller allotments from the
large mansion estate of Burwood.
Boroondara's cultural history.
Yarroma comprises a combination of riverside setting, house, attached billiard room, stables,
garden layout and plantings dating from its establishment in 1872. The lawn, paths, driveway
loop and specimen trees form an outstanding setting for the Victorian Gothic Revival house
and stables. From the Yarra River the garden and specimens of native and exotic trees form
part of a unique aspect of the riverside in which buildings recede into the landscape. This
combination of surviving elements, including the Gothic Revival house, stables, plantings and
garden layout is uncommon in the City of Boroondara.
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the City of Boroondara's cultural history.
The archaeological potential has not been assessed. Further survey work of the house,
stables and garden is likely to reveal additional information about the place, in particular
further inspection is likely to reveal elements of the garden that may have been obscured.
cultural places and objects.
Yarroma is an outstanding example of a Hawthorn villa, complete with garden and
outbuildings. The characteristics of the place are still evident in the largely externally intact
house, billiard room, stables, garden layout and nineteenth century plantings. It is an
excellent and largely intact example of a fashionable riverside villa exhibiting features of
extensive grounds, exotic plantings, and an architectural composition designed to enhance
and overview the surroundings and give pleasure to its occupants.
The riverside setting, buildings and garden of Yarroma exhibit excellent architectural and
landscape design characteristics. The house exhibits a flamboyant Gothic Revival
architecture unusual in the work of the architect J.T.Conlon who was better known for his
more conservative use of the Victorian style. The house and stables exhibit a range of
architectural devices including the central four bayed arcade, off centre entry tower, projecting
gable with bay window, with extensive use of patterned red, cream and Hawthorn bricks,
elaborate chimneys and barge boards. The river aspect has strong aesthetic qualities
provided by the massed plantings and a distinctive skyline of exotic trees.
There are no known particular technical or creative characteristics that are demonstrated.
group for social, cultural or spiritual reasons. This includes the significance of a place
to Indigenous peoples as part of their continuing and developing cultural traditions.
No assessment has been done under this criterion.
Yarroma, together with a number of other properties in the St James Park Estate is
associated with well known theatrical entrepreneur George Coppin. Another association
shared by all the properties on the estate is with Sir James Palmer as the owner of Burwood
(formerly Invergowrie) prior to subdivision.
Yarroma is particularly associated with former gold miner and Royal Society member Thomas
Burrows, as the owner and developer of the buildings now comprising the property. The
connection between Burrows and the architect J.T Conlon was further strengthened through
the marriage of Conlon to Burrows' niece.
The property at 12 Coppin Grove Hawthorn comprising the Victorian Gothic Revival house
built in 1872-3, billiard room of 1890, stables and coachouse of 1872-3, garden layout as
shown in 1901, significant trees as noted in the description and riverside setting is significant.
Later additions to the property including a tennis court, pool and poolhouse and carport and
fence are not significant.
Yarroma is of local historical, architectural and aesthetic significance to the City of
Boroondara.
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Historically, 12 Coppin Grove, Canterbury is significant as one of the earliest properties
developed on the St James Park Estate following subdivision of the land in 1871. Yarroma is
representative of the type of villa development of the 1870s that characterised much of
Hawthorn. The property forms one of a number of Victorian-era mansions and villas that
define the characteristics of the St James Park Estate.
The house and outbuilding are of architectural significance as a largely intact and unusual
Victorian Gothic Revival work designed by architect J T Conlon. It is an original and
innovative example of Conlon’s work. Distinctive elements of the architecture include a four
bayed arcade, entrance tower with mansard roof, a projecting gable with canted bay window
and arch-headed windows, eight chimneys with fine brick patterning and brick mouldings, the
use of Hawthorn, red and cream patterned brickwork, render detailing of parapets and gables,
bracketed cornices, and a variety of hipped and gabled roof forms. The billiard room forms an
additional wing to the south of the main house.
12 Coppin Grove is of aesthetic significance as the garden setting retains much of its layout
and structure of mature exotic trees, including several large specimens of Araucaria Bidwillii,
A cunninghammii, A, heterophylla, Quercus Canariensis, Cupressus sempervirens, and a
Brachychiton acerfolius. From the river side the site forms a part of the landscape in which
and buildings recede into the planted landscape. The trees form a distinctive skyline that
stretches from the Bridge street bridge to the railway line.
12 Coppin Grove, Canterbury is included in Heritage Overlay HO163 of the Planning Scheme,
which applies to St James Park Estate, Hawthorn.
Boroondara Planning Scheme
Tree Controls
Incorporated plan No
No
No4
No
No
No
No
No
Not assessed.
Identified By
(eg: G Butler, Camberwell Conservation Study, 1991.)
References
General: (eg: G Butler, Camberwell Conservation Study, 1991.)
4
The site is included in the Environmental Significance Overlay and a permit is normally required to remove, destroy
or lop any vegetation, including dead vegetation.
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Attachment 5
399
Barkers R
o
401
403
ad
492
486
488
500
2/492
492
3/492
494
4/492
5/492
1
6/492
7/492
8/492
9/492
10/492
4
3
6
Existing Grading 492 Barkers Road, Hawthorn East
9
41
45
45
8-10
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399
Barkers R
o
401
403
ad
492
486
488
500
2/492
492
3/492
494
4/492
5/492
1
6/492
7/492
8/492
9/492
10/492
4
3
6
Proposed Grading 492 Barkers Road, Hawthorn East
9
41
45
45
8-10
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Attachment 6
399
Barkers R
o
401
403
ad
492
486
488
500
2/492
492
3/492
494
4/492
5/492
1
6/492
7/492
8/492
9/492
10/492
4
3
6
Current extent of Heritage Overlay
HO7: 492 Barkers Road, Hawthorn East
9
41
45
45
8-10
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399
Barkers R
o
401
403
ad
492
486
488
500
2/492
492
3/492
494
4/492
5/492
1
6/492
7/492
8/492
9/492
10/492
4
3
Proposed extent of Heritage Overlay
HO7: 492 Barkers Road, Hawthorn East
6
9
41
45
45
8-10
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City of Boroondara