‘Seaside Cottages’, Wunderlich Limited, 1937. Powerhouse Museum collection.
The Gold Coast City Gallery has been displaying the exhibition Fibro Coast; it will soon be at the University of the Sunshine Coast Gallery. Fibro Coast is about the holiday architecture that is still a feature of the Gold Coast and the Sunshine Coast.
When I was writing the Fibro frontier during the 90s I went on a research trip to Brisbane, the Gold Coast and the Sunshine Coast. I hadn’t been to any of these places since I was a child so it was a revelatory sort of trip, especially the amount of fibro on view which I eagerly recorded on film. So I was pleased to be asked by the Gold Coast gallery to write for the exhibition catalogue and give a gallery talk.
Looking across to Cockatoo Island’, Kerry and Co, Sydney, Australia, c. 1884-1917. Collection: Powerhouse Museum
This image from the Museum’s Kerry and Co collection shows Cockatoo Island in the late 1800s. Now one of the venues for the Sydney Biennale, the island has had a diverse past, as a home to convicts, ship builders and now artists.
Vandyke house at East Hills, 1948. Photo by Max Dupain. Powerhouse Museum collection, gift of Tony Vandyke.
You might have seen the story re the State Library of NSW’s recent acquisition of a photo album containing a different version of Max Dupain’s well-known 1937 ‘Sunbaker’ photo.
That Max disliked the widely published version doesn’t strike me as headline cultural news (well done to the State Library’s pr people tho). But the fact that the story was front page is confirmation of Max’s own annoyance that what has become a nostalgic salute to the old Australia of beaches and sunshine is more famous than his urban portfolio, the defining majority of Dupain’s output. The Library rubs it in somewhat by referring to the Sunbaker as ‘the holy grail of Australian photography’.
Opening day at Roselands, 1965. Australian Women’s Weekly, 27 October 1965, Powerhouse Museum Library.
A groovy shopping mall is a contradiction in terms for many people. Yet that is what has just opened at the Central Park development on Sydney’s Broadway. As malls go the new one is small but it’s illuminated from above by a Jean Nouvel-designed heliostat and according to the Herald, has the personality of ‘a well-dressed hipster with a short attention span’.
Model, Aquatic Centre for the Asian Games, Bangkok, Philip Cox/Cox Architects, 1995. Powerhouse Museum collection.
The architect Philip Cox recently told us what we already knew: Star casino in Pyrmont is by far his worst building. Needless to say a Star flack was immediately reassuring the media that almost none of Cox’s 1997 design had survived the casino’s recent renovations. Whether the casino genre is a likely inspiration for good architecture need not concern us here – for his part Cox declared casinos a toxic genre and wished he’d never designed one.
Photo by Max Dupain 1966, Powerhouse Museum collection. Courtesy Max Dupain & Associates.
We’ve just installed a small exhibition to mark the fortieth anniversary of Sydney Opera House on 20 October. The anniversary, by the way, is of the official 1973 opening by the Queen, not the first public performance there on the 28 September 1973, an interesting choice of dates.
Danny De Vito, Richard Dreyfus and Cadillacs in Tin Men, 1987. Copyright Allmovies.com
Re-skinning of buildings takes several forms, not all of them particularly reputable. During the 60s and 70s salesmen prowled the suburbs, seeking out fibro and weatherboard cottages that could be re-clad with aluminium or vinyl. The hard sell would then begin, with promises of capital gains, improved appearance and insulation. I’m not sure that many houses were actually improved, especially as the new cladding was usually screwed on over the existing one.
This business was immortalized in a popular US movie of the 1980s: Tin Men was both satirical and nostalgic about two competing aluminium cladding (‘siding’ in US lingo) salesmen, played by Danny De Vito and Richard Dreyfus.
Marseille: Museum of European and Mediterranean civilisations (left) and Villa Mediterranean. Photo by Charles Pickett, 2013.
I’ve been holidaying in Europe recently; mainly Italy and Greece, but we also managed a day in Marseille.
France’s oldest and second-largest city is European City of Culture for 2013 so there is even more to see than usual. Focusing on Marseille as a cultural address is partly an attempt to stop the city being bracketed with the likes of Naples and Chicago: capitals of crime, corruption, poverty and drug gangs. There’s reality behind the negative image but it also reflects the long-standing rivalry between Paris and Marseille and resulting urban caricatures.
Cover, The Home, 1 November 1933, artwork by Eileen Gray. Powerhouse Museum collection.
A couple of month’s back I was contacted by a Daily Telegraph journo, doing a story about Sydney’s ‘Gatsby-style’ mansions. Baz Luhrmann’s take on The Great Gatsby had just hit the screens and the media was searching for evidence that 1920s Sydney had glamour to match that of New York.
Sirius apartments, watercolour and ink on board. PHM collection 2013/36/1 Gift of the family of Jack and Jean Nagle.
We have just acquired this watercolour elevation of the Sirius public housing apartments in the Rocks. Most architects’ elevations use a street level viewpoint – this bird’s eye view is different and striking.
Sirius was built to rehouse public tenants displaced during the controversial redevelopment of the Rocks during the 1960s and 1970s. Eventually building work in the Rocks was halted by union Green Bans and resident opposition. In 1975 the Sydney Cove Redevelopment Authority agreed to suspend most of its development plans and rehouse displaced public housing tenants in new public housing.